


j P 






"3 -V 



•ptrntry at ®iwpt$$. 






•UNITED STATES OF AMERICA. 



THE PHILOSOPHY 



OP 



THE HUMAN YOICE: 



EMBRACING ITS 



PHYSIOLOGICAL HISTORY; 

TOGETHER WITH A 

SYSTEM OF PRINCIPLES, 

BY WHICH 

CRITICISM IN THE ART OF ELOCUTION 

MAY BE RENDERED INTELLIGIBLE, 

AND 

INSTRUCTION, DEFINITE AND COMPREHENSIVE. 

TO WHICH IS ADDED 

A BRIEF ANALYSIS 

op 

SOTVG AND RECITATIVE. 

BY JAMES RUSH, M. D. 

THIRD EDITION, ENLARGED. 



PHILADELPHIA. 

J. CRISSY, PRINTER, MINOR STREET. 
1845 







Entered according to the Act of Congress, in the year 1845, by 
James Rush, M. D., in the Clerk's Office of the District Court of the 
Eastern District of Pennsylvania. 



4 34 2- 



CONTENTS 



Page 

INTRODUCTION, 21 
SECTION I. Of the General Divisions of Vocal Sound, with a more 

particular account of its Pitch, 43 

II. Of the Radical and Vanishing movement of the 

Voice ; and its different forms in Speech, Song, and 

Recitative, 59 

III. Of the Elementary Sounds of the English Language; 

with their relations to the Radical and Vanishing 

movement, 70 

IV. Of the Influence of the Concrete Movement, in the 

production of the various phenomena of Syllables, 85 

V. Of the Causative Mechanism of the Voice, in relation 

to its different dualities, 98 

VI. Of the Melody of Speech ; together with an inquiry 

how far the terms Key and Modulation are appli- 
cable to it, 124 

VII. Of the Expression of Speech, 145 

VIII. Of the duality or Kind of Voice, 149 

IX. Of the Time of the Voice, 151 

X. Of the Expression of Melody, 174 

XI. Of the Intonation at Pauses, 178 

XII. Of the Grouping of Speech, 187 

XIII. Of the Interval of the Octave, 195 

XIV. Of the Interval of the Fifth, 198 

XV. Of the Interval of the Third, 199 

XVI. Of the Intonation of Interrogative Sentences, 202 

XVII. Of the Interval of the Second, 220 



IV CONTENTS. 

SECTION XVIII. Of the Interval of the Semitone ; and of the Chro- 
matic Melody founded thereon, 

XIX. Of the Downward Radical and Vanishing Move- 

ment, 

XX. Of the Downward Octave, 

XXI. Of the Downward Fifth, 

XXII. Of the Downward Third, 

XXIII. Of the Downward Second and Semitone, 

XXIV. Of the Wave of the Voice, 

XXV. Of the Equal- Wave of the Octave, 

XXVI. Of the Equal- Wave of the Fifth, 

XXVII. Of the Equal- Wave of the Third, 

XXVIII. Of the Equal- Wave of the Second, 

XXIX. Of the Equal- Wave of the Semitone, 

XXX. Of the Wave of unequal Intervals, 

XXXI. Of the Intonation of Exclamatory Sentences, 

XXXII. Of the Tremor of the Voice, 

XXXIII. Of Force of Voice, 

XXXIV. Of the Radical Stress, 

XXXV. Of the Median Stress, 

XXXVI. Of the Vanishing Stress, 

XXXVII. Of the Compound Stress, 
XXXVIII.Of the Thorough Stress, 
XXXIX. Of the Loud Concrete, 
XL. 
XLI. 
XLI1. 
XLIII. 
XLIV. 
XLV. 



Of the Time of the Concrete, 
Of the Aspiration, 
Of the Emphatic Vocule, 
Of the Guttural Vibration, 
Of Accent, . 
Of Emphasis, 
Of the Radical Emphasis, 
Of the Median Emphasis, 
Of the Vanishing Emphasis, 
Of the Compound Emphasis, 
Of the Thorough Emphasis, 
Of the Aspirated Emphasis, 
Of the Emphatic Vocule, 
Of the Guttural Emphasis, 



224 

234 

238 
239 
242 
246 
248 
254 
255 
257 
258 
261 
263 
271 
282 
292 
294 
300 
303 
306 
308 
ib. 
309 
310 
315 
317 
318 
325 
326 
327 
328 
429 
330 
331 
332 
ib. 



CONTENTS. 

SECTION XLV. Of the Temporal Emphasis, 

Of the Emphasis of Pitch, 
Of the Emphasis of the Octave, 
Of the Emphasis of the Fifth, 
Of the Emphasis of the Third, 
Of the Emphasis of the Semitone, 
Of the Downward Concrete, 
Of the Downward Octave, 
Of the Downward Fifth, 
Of the Downward Third, 
Of the Emphasis of the Wave, 
Of the Equal Single Wave of the Octave, 
Of the Equal Single Wave of the Fifth, 
Of the Unequal-Single Wave, 
Of the Emphasis of the Tremor, 
A Recapitulating View of Emphasis, 

XLVI. Of the Drift of the Voice, 
Of the Diatonic Drift, 
Of the Drift of the Semitone, 
Of the Drift of the Downward Vanish, 
Of the Drift of the Wave of the Second, 
Of the Drift of the Wave of the Semitone, 
Of the Drift of Quantity, 
Of the Drift of Force, 
Of the Drift of Radical Stress, 
Of the Drift of Median Stress, 
Of the Drift of Vanishing Stress, 
The Partial Drift of the Tremor, 
The Partial Drift of the Aspiration, 
The Partial Drift of the Guttural Vibration, 
The Partial Drift of Interrogation, 
The Partial Drift of the Phrases of Melody, 

XL VII. Of the Vocal Signs of the Passions, 

Of the Passions or Emotions indicated, 
By Feebleness of Voice, 
By Loudness of Voice, 
By Gluickness of Voice, 
By Slowness of Voice, 



333 
335 
337 
339 
340 
342 
343 
345 
347 
348 
349 
351 
352 

ib. 
354 
356 
364 
366 

ib. 

ib. 
367 

ib. 

ib. 
368 

ib. 

ib. 

ib. 
369 

ib. 

ib. 

ib. 

ib. 
373 



ib. 



ib. 



V| 



CONTENTS. 



SECTION XLVII, By duality of Voice, 383 

By the Semitone, 384 

By the Second or Tone, ib. 

By the Rising Third, Fifth and Octave, ib. 

By the Downward Third, Fifth and Octave, 385 

By the Wave of the Semitone, 386 

By the Wave of the Second, ib* 

By the Waves of the Third, Fifth and Octave, ib- 

By the Radical Stress, 387 

By the Median Stress, ib. 

By the Vanishing Stress, 388 

By the Compound Stress, ib. 
By the Tremor of the Second, and wider Intervals, ib. 

By the Tremor of the Semitone, 389 

By the Aspiration, ib. 

By the Guttural Vibration, 390 

By the Emphatic Vocule, ib. 

By the Broken Melody, ib. 

XLVIII. Of the Mode of Instruction in Elocution, 394 

Of Practice on the Alphabetic Elements, 397 

Of Practice on the Time of Elements, 402 

Of Practice on the Vanishing Movement, 403 

Of Practice on Force, 404 

Of Practice on Stress, ib. 

Of Practice on Pitch, 405 

Of Practice on Melody, 407 

Of Practice on the Cadence, ib. 

Of Practice on the Tremor, 408 

Of Practice on the duality of Voice, ib. 

Of Practice in Rapidity of Speech, 410 

XLIX. Of the Rythmus of Speech, 416 

L. Of the Faults of Readers, 425 

Of Faults in duality, 436 

Of Faults in Time, ib. 

Of Faults in Force, 437 

Of Faults in Pitch, 439 

Of Faults in the Concrete Movement, 440 

Of Faults in the Semitone, ib. 



CONTENTS. Vll 

SECTION L. Of Faults in the Second, 441 

Of Faults in the Melody of Speech, 442 

First Fault in Melody, 443 

Second Fault in Melody, 444 

Third Fault in Melody, ib. 

Fourth Fault in Melody, 445 

Fifth Fault in Melody, 446 

Sixth Fault in Melody, 447 

Seventh Fault in Melody, 448 

Of Faults in the Cadence, 451 

Of Faults in the Third, 453 

Of Faults in the Fifth, 454 

Of Faults in the Downward Movement, ib. 

Of Faults in the Discrete Movement, 455 

Of Faults in the Wave, ib. 

Of Faults in the Melody of the Pause, 456 

Of Faults in Drift, ib. 

Of the Fault of Mimicry, 459 

Of Monotony of Voice, 461 

Of Ranting in Speech, 462 

Of Affectation in Speech, 463 

Of Mouthing in Speech, ib. 

Conclusion, 464 

A Brief Analysis of Song and Recitative, 471 

Of Song, 472 

Of Recitative, 493 



PREFACE 



THIRD EDITION 



The ■ Philosophy of the Human Voice' was first published, 
nearly eighteen years ago : and as the lapse of time has af- 
forded ample opportunity for determining, how far its de- 
scriptions accord with the phenomena of Nature ; it may not 
be uninteresting to the reflective student of elocution, to have 
a short account of its reception, and of its progress within 
this period. 

Two editions have been published; one of five hundred 
copies, in January, eighteen hundred and twenty-seven; the 
other, of twelve hundred and fifty copies, in June, eighteen 
hundred and thirty-three. And although the work has been 
out of print for six years, the present edition is not consider- 
ed essential to its preservation : there being already abroad, 
print enough to furnish a revival-copy, when the humor of 
those who hold the great seals of patronage, may choose to 
give it a place in their encyclopaedia of knowledge, and their 
schools of practical instruction. It is rather at the call, and 
for the sake of those few friendly Samaritans, who are dis- 
posed to take charge of it, whilst the Priest and Levite of 
learning pass along on the other side, that I have with some 
inconvenience, at this time, undertaken to republish it. 

2 



X PREFACE. 

The amount of good-will thus far extended to the work, 
may scarcely deserve the name of patronage : but it is rather 
more than was expected, and will perhaps be sufficient to 
keep it from oblivion. I can enumerate upwards of twenty 
individuals, who, with various qualifications, have been oc- 
cupied in teaching its principles. The greater part of these 
have lived in the Northern section of the States. South and 
West of the Susquehanna, it is very little known ; nor has 
it, in that extended quarter, except by itinerants, been till 
very lately, either publicly or privately taught. All the 
individuals alluded to have respectively taught the work, 
with a full, or a limited understanding of it, and a varied 
ability to apply its analysis. Some have been resident and 
some traveling teachers : the latter giving lectures, or tem- 
porary school-instruction, in different towns and villages. It 
may well be imagined, that teaching a new system, not yet 
favored by popularity, would show but slender gains: and 
such appears to have been the case with those who have 
thus far made the promulgation of the new analysis of speech, 
a part, or the whole of their occupation. 

As this work professes to set forth the universal principles 
of speech, the subject, at least, is not beneath the notice of 
the philologist of any age or nation. But as regards its 
foreign relationships, the 'Philosophy of the Human Voice' 
has been obliged to come under that old interrogative con- 
demnation of — " who reads an American book?" 

To the scientific in two or three parts of Europe, it is 
known, by an occasional whisper, that such a book exists. 
Two individuals, Dr. Barber, and the Reverend Samuel 
Wood, have been the first to speak aloud of it in England: but 
with what success, I am not informed. It lies on the shelves 
of many of the learned libraries of Europe ; and is in the 
possession of some of those who make, or direct the science 
of the times. But it has never yet received a strictly inves- 
tigating notice: no examination by a qualified and authorita- 
tive ear, which might decide whether what is offered, as the 
truth of Nature, is that very truth. And, as in preparing 



PREFACE. XI 

the analysis for others, the author was, by circumstances, 
the solitary pupil of his own instruction; so with hope- 
deferred, to correct its faults by the aid of competent coun- 
sel, he has been obliged to assume the office of an insufficient 
and perhaps partial critic over himself. 

By far the greater number of those who have become the 
pupils and friends of this system, have been of the more re- 
tired and unpretending classes. 

Of the infinitude of demagogues in our country, from the 
candidate for Presidency, down to him who works the plot 
of Nomination ; and who all, with one accord, but with a 
varied personality, are at the same time, corrupting their 
voices, their intellect, their principles, and their republican 
government: — of all these, I have not heard of one, who has 
had time or repose enough, to inquire whether this work 
might not imbue his speeches with a more graceful cunning, 
to blind and to mislead the people. 

Of the many actors whom I have known and heard of, 
none seem to have the least idea of such a thing as a phi- 
losophy of the voice ; or that the branch of their art, which 
this book particularly regards, needs any improvement by 
science; or indeed, that their art is any thing else than a 
mysterious light of genius, which each, in his various degree, 
possesses. One individual, but not till he had left the Stage, 
has formed an association in Boston, for teaching the prin- 
ciples of this philosophy. 

Here and there, a young Lawyer, with that generality of 
temperament, and inkling of taste, which, in this country at 
least, is rather a drawback to advancement in the profession, 
has looked into this subject, tried a few lessons, and then 
abandoned his purpose. 

The clergy have more generally regarded the system with 
a favorable ear: have studied and patronized it. 

I have known one physician only, who comprehended the 
design, and studied the nature of this work ; but he is de- 
ceased. Why it has found no favor among them, at least as 
a subject of physiology, is perhaps to be solved by the facts 



Xll PREFACE. 

— that it is strictly observative ; that it rejects all notions, 
and quarrelsome theories; — is of no immediate popular use ; — 
and is the product of a physician. 

Musicians and singers, together with a certain class, who 
either to confer or to receive patronage, hover about them, 
have not given any attention to this subject. Of a large 
number in each of these classes, I have found none able to 
appreciate our analysis ; or to understand how speech and 
music might be but different branches of the same art. To 
this I may add the remarkable circumstance, that whilst 
musicians and singers, possessing by the instinct and habit 
of their calling, the most observant and precise discrimina- 
tion of ear, are unable to recognize the peculiar music of 
speech ; — there is a class, the Society of Friends, who, by the 
strictest discipline, shun all the graces of Art, who never 
cultivate the ear either by instrument or voice, but fantasti- 
cally corrupt it by their speech ; these, when addressed by 
the system, have formed a large proportion of its pupils, and 
have comprehended its nature, if they have not reached to 
practical skill in its rules. 

A few teachers of Psalmody appear to have read the work: 
and so far as they have found its discriminations and its 
terms applicable to their purpose, have adopted them in 
their Manuals of instruction. 

On the whole, very few of those who exert the scientific 
influence, such as it is, of this country, have regarded it, 
either with curiosity or favor. But what makes their case 
remarkable is, that in their own want of understanding, they 
always imagine the deficiency to be on the side of the Author. 
One says, it is a sealed book ; another, that it might as well 
have been written in Hebrew. An eminent leader of opinion, 
on this side of the water, says, it is not worth reviewing: 
whilst on the other side, one of the very highest rank, in 
British periodical criticism, declares, in the frank confession 
of an ineffable superiority, that " it quite surpasses his com- 
prehension." One, not contented with his own single in- 
competency, takes me into his company, by saying, that 1 do 



PREFACE. Xill 

not understand it myself: whilst to a high-placed medical 
professor, the work appeared to be such palpable gibberish, 
that he recommended one of his friends to read it, as a fine 
example of the incoherent language of insanity. 

These remarks have a place here, not from their import- 
ance either to the author or his subject: but as minor chroni- 
cles, collateral to the early history of the Philosophy of 
Speech. And I am quite willing to believe, that whether 
they came from ignorance or from spleen, they were the off- 
spring of a thoughtless humor, that by this time, has changed 
to something else equally foolish or bad. These however 
may have been words of a moment, and then forgotten. 
Two, and only two, so far as known, have employed time, 
reflection, argument, public lecturing and printing, in dis- 
pute of the claims of this work. 

Under the article Philology, in the Encyclopaedia Ameri- 
cana, the President of the American Philosophical Society, 
after stating the nature and the design of the 'Philosophy of 
the Human Voice,' gives, what he thinks, learned and suffi- 
cient reasons for determining, not only that this work has 
not, according to its purpose, developed and measured the 
expressive movements of speech: — but that it never can be 
done. Not to contend here with a gentleman, who at the 
head of all the philosophers, denies — what I at least imagine 
to have been accomplished; I must hand him over to the 
unknown science and industry of future ages, to argue the 
case of its future impossibility; only remarking here, that 
as it has been done already, in the work which is in the dis- 
tinguished President's hands, there can be nothing impossible 
or miraculous in the idea of its being done again. 

The other formal decision against the means and end of 
this work, comes, as I am told, from one of the thousand 
lecturers of the day, at Boston, whose name I cannot now 
call to mind. All I have to say of his attempt at refutation is, 
that in addition to the direct demonstration of the truth of the 
analysis, which the ear has given to some few inquirers, he 
has unexpectedly furnished us with that indirect proof, which 



XIV PREFACE. 

the logicians call the — argumentum ducens in absurdum: 
meaning in plain English, that — the proposition must be 
true, which we cannot, without absurdity, prove to be false. 
I have a few words to add, on the subject of adapting the 
principles of this work, to the purposes of practical instruc- 
tion. There have been seven or eight grammars or text- 
books of elocution, for the use of schools, formed out of a 
different amount of its materials, and set forth with various 
degrees of ability. Now, as the object is to render a gram- 
mar popular, it has been the aim of the compilers to simplify 
the system, and to furnish a cheap book; thus accommoda- 
ting it to all the wants of the learner. This attempt, whether 
by its very nature, or the manner of its execution, has per- 
haps had the effect to retard the progress of our new system 
of the voice. For the superficial character of these books, 
and the mingling of parts of the old method with parts of the 
new analysis, together with a purpose to give definition and 
order to a few and scattered materials, has left the inquirer 
unsatisfied, if it has not brought his mind to confusion. We 
know that one of the difficulties of introducing new subjects 
of education is, that you give the scholar, as he thinks, too 
much to do. But it is the condition of all such cases, that 
he must learn the whole, or he learns comparatively nothing. 
The time for abstracting, or condensing, by synopsis, or by 
a sketch, is when a general understanding of the subject pre- 
vails; when consequently hints go a great way, and exposi- 
tors are found every where. I composed this work under 
the idea, that it might, for a time, be consigned to oblivion: 
But that if afterwards, a single worm-eaten copy should be 
recovered, with nature only for its illustration, a knowledge 
of its analysis and purpose might be revived, without the 
living assistance of the author. I wrote it too, with all the 
brevity that its novelty would allow; and I would as wil- 
lingly recompose the whole, from memory and reflection, as 
attempt to set forth its contents, in half the number of its 
pages. The design of the work was, so to describe the na- 
ture and uses of the voice, that they might be audibly illus- 



PREFACE. XV 

trated for the benefit of the scholar; — not merely to furnish 
materials to be broken up, curtailed, jumbled into a text- 
book, and printed for the pecuniary benefit of a master. The 
purpose indeed, seemed to need an apology; and it has been 
offered, in the consideration of the cost of an abridgment, 
compared with that of a larger work. But when was cheap 
knowledge ever worth even half of what was given for it? 
And the truth is, that if a succession of cheap books did not 
invite and delude so many purchasers, there would be enough 
to reduce more expensive works to an accommodated rate. 
An unfortunate result of these small grammars taking the 
place of full and clear description, is that each compiler has 
a special personal interest in his own little book, to the ex- 
clusion of others of the same sort. And this produces, as I 
have witnessed, jealousies and petty slanders among these 
several competitors for popular favor. Thus, one is said to 
have made an odd assemblage of the old indefinite system, 
with the new analysis. One is thought to have given too 
little musical explanation ; another too much. This one's 
arrangement is wrong: that other's is no better: and a 
third has no arrangement at all. One, in a desire to be 
popular, forgets to be explanatory. One slily takes his ma- 
terials, without acknowledgment; another boldly palms them 
off as his own. Whilst another, supposing himself to have 
become original, by a long habit of copying, receives and 
publishes compliments to himself, on — his philosophical an- 
alysis, and his new system of elocution. 

This is what these discordant gentlemen, who profess to 
draw from a common stock, so critically say of each other : 
he who makes the last book, being the most obnoxious to the 
rest, by complaining before their faces, of the want of the 
right kind of manual, which he invidiously undertakes to 
supply. 

I make these remarks, with a disposition to advance an 
art, in which the persons here referred to, have joined the 
distracting and questionable interest of publishing, with the 
occupation of illustrative teaching. If the time had arrived, 



XVI PREFACE. 

for the friends or opponents of the system to become, by the 
habit of acute and comprehensive investigation, authoritative 
and responsible critics, I would sit down with them, and to- 
gether expunge all the errors of the 'Philosophy of the Human 
Voice;' and see, with satisfaction, all its omissions supplied. 
I never myself looked for, nor expected, nor have I received 
any pecuniary benefit from this work: and it ought to be 
regretted, if those who have that sort of gain in view, should, 
by their haste or insufficiency, or their differences among 
one another, mar the purpose and progress of that art, in 
which, as a subject of knowledge and taste, all of us should 
be equally interested. 



Philadelphia, December 2, 1844. 



PREFACE 



SECOND EDITION 



More than six years ago I offered the manuscript of the fol- 
lowing work to the then principal bookseller of this city. 
Engagements which promised to be more lucrative obliged 
him to decline the publication. The result has shown, that 
with his instrumentalities of trade he might have made a 
profitable sale of it ; especially as, with my motives in au- 
thorship, I would have freely given the whole right of the 
edition to him. I made no second offer of the manuscript to 
any other ; for as it had been rejected by the foremost pub- 
lishing patron of American works, I deprecated the influence 
of his example against me. Thus the first step of my au- 
thorship was unfortunate ; and as in these days of anxious 
benevolence, a very few misfortunes are sure to bring down 
contempt, — to save further ill luck, I printed it myself; and 
subsequently found an individual not unwilling to interest 
himself in disposing of it. 

I remember one of the objections to publishing the * Phi- 
losophy of the Human Voice' was — * its not being suited to 
this country. I know well that the higher views of science 
and taste, and all originality in an individual, as being the 

3 



XV 111 PREFACE. 

minimum of a minority, where nothing is undertaken but 
through numbers and linked opinions, — are considered as 
contrary to the popular spirit of our institutions: yet upon 
this very belief I offered that work to the public; hoping by 
the diffusion of its principles, in due season to suit the coun- 
try to it; and thus instead of being a present time-server, 
on full but precarious wages, to endeavor to be the unhired- 
server of an enlightened and grateful futurity. 

With here and there an exception, the scoffers at this work 
have been those eternal enemies of improvement, — the Place- 
men of Learning. Supposing however that, through the in- 
fluence of knowledge made light and popular and cheap, the 
arts are not now so far downward as to create despair of 
any successful efforts by a new one, before their entire de- 
cay and future revival, — I would say to many of those who 
hold the places and draw the profits of science, that if they 
will but continue to sheathe their opposition in their feigned 
contempt, the first humble apostles of this work may, by a 
gradual rise to those places and profits, see their own en- 
larged designs of instruction, in the course of half a century 
completed. 

There are now several teachers and numerous friends of 
the system throughout the United States. Dr. Barber, an 
English physician, who had devoted himself to the study of 
elocution, and who came to Philadelphia about the period of 
the publication of the ' Philosophy of the human voice,' was 
the first to adopt its principles, and to defend them against 
the double operations of doubt and sneer, by an explanatory 
and illustrative course of lectures. Yale College, at New 
Haven, was early favorable to the system. But the Uni- 
versity of Cambridge, by the appointment of Dr. Barber to 
its department of Elocution, was the first chartered insti- 
tution of science that gave an influential and responsible ap- 
probation of the work. 

This work furnishes, upon analysis, a system of principles 
for an art that heretofore has been waywardly directed by 



PREFACE. XIX 

individual instinct or caprice: all therefore who design to 
teach the art of reading must sooner or later adopt it. Will 
the influential instructors of Philadelphia be the last? If this 
city were not the place of my birth and residence, I would 
take upon me to answer — No. 

The objections first made to ' the Philosophy of the human 
voice' were against its utility ; now the cry among the learn- 
ed is, that it is too difficult. Too difficult ! Why, all new 
things are difficult; and if the scholastic pretender knows 
not this, let the annals of the trades instruct him. — Just one 
century has elapsed since that common material of furniture 
— mahogany, was first known in England. It is recorded 
that Dr. Gibbons, an eminent physician of that period, had a 
brother, a West India captain, who took over to London 
some planks of this wood, as ballast. The Doctor was then 
building a house; and his brother thought they might be of 
service to him. But the carpenters finding the wood too hard 
for their tools, it was laid aside for a time as useless. Soon 
after a candle-box being wanted in his family, Dr. Gibbons 
requested his cabinet maker to use some of this plank which 
lay in his garden. The cabinet maker also complained that 
it mas to hard. The Doctor told him he must get stronger 
tools. When however by successful means, the box was 
made, the Doctor ordered a bureau of the same material ; the 
color and polish of which were so remarkable, that he invited 
all his friends to view it. Among them was the Duchess of 
Buckingham, who being struck with its beauty, obtained 
some of the wood : of which a like piece of furniture was 
immediately made for Her Grace. Under this influence the 
fame of mahogany was at once established ; its manufacture 
was then found to be in nowise difficult ; and its employment 
for both use and ornament has since become universal. 

The master-builders of science, literature and eloquence, 
declared ' the Philosophy of the human voice' to be too hard 
for their studious energies ; and threw it aside as useless. 
But a few humble cabinet makers of learning having, some 



XX PREFACE. 

how or other, got stronger tools, have already made the box ; 
are under way with the bureau ; and are only waiting for 
the authoritative influence of some leader of oratorical fashion, 
— to produce a general belief in the simple truism that — if 

WE WISH TO READ WELL, WE MUST FIRST LEARN HOW. 



Philadelphia, June 26, 1833. 



INTRODUCTION 



The analysis of the human voice, contained in the follow- 
ing essay, was undertaken a few years ago, exclusively as a 
subject of physiological inquiry. Upon the discovery of some 
essential functions of speech, I was induced to pursue the 
investigation ; and subsequently to attempt a methodical de- 
scription of the various vocal phenomena, with a view to 
bring the subject within the limits of science, and thereby to 
assist the purposes of oratorical instruction. 

By every scheme of the cyclopaedia, the description of the 
voice is classed among the duties of the physiologist ; yet he 
has strangely neglected his part, by borrowing the small sub- 
stance of his knowledge from the fancies of rhetoricians, and 
the dull authority of grammarians. It is time at last for phy- 
siology, of right and seriously, to take up its task. 

In entering on this inquiry, I resolved to defer an express 
refererce to the productions of former writers, until the in- 
fluence of nature over the ear should be so far established, as 
to obviate the danger of adopting unquestioned errors, which 
the strongest effort of independence often finds it so difficult 
to avoid. Even a faint recollection of school instruction was 
not without its forbidding interference, with my first endeavor 
to discover, by the ear alone, the hidden processes of speech. 

After obtaining an outline of the work of nature in the voice, 
sufficient to enable me to avail myself of the useful truths of 
other observers, and to guard against their mistakes, I con- 
sulted all accessible treatises on the subject, particularly the 



xxii INTRODUCTION. 

European compilations of the day, the authors of which have 
opportunities for learned research not enjoyed in this country. 
Finding, on a fair comparison, that the following history of 
the voice represents its nature more extensively and definitely 
than any received system, I am induced to offer it to the pub- 
lic. Many errors may be found in it ; but if the leading 
points of analysis, and the general method be not a ropy from 
nature, and do not prompt others to carry the subject into 
practical detail, I shall forever regret the publication. 

It becomes me, however, to remark, that as this work has 
not been made up from the quoted, or controverted, or accom- 
modated opinions of authors, I shall totally disregard any de- 
cision upon its merits, which is not the result of a scrutini- 
nizing comparison with nature herself. 

The art of speaking well, has, in most civilized countries, 
been a cherished mark of distinction between the elevated 
and the humble conditions of life, and has been immediately 
connected with some of the greater labors of ambition and 
taste. It may therefore appear extraordinary, that the world, 
with all its works of philosophy, should have been satisfied 
with an instinctive exercise of the art, and with occasional 
examples of its supposed perfection, without an endeavor to 
found an analytic system of instruction, productive of more 
multiplied instances of success. Due reflection, however, 
will convince us, that even this extended purpose of the art 
of speaking, has been one of the causes of neglect. It has 
been a popular art ; and works for popularity are too often 
the careless product of mediocrity. The renowned of the bar, 
the senate, the pulpit, and the stage, applauded into self-con- 
fidence, by the multitude that surrounds them, cannot ac- 
knowledge the necessity of improvement : for the rewards 
that await the art of gratifying the general ear are in no less 
a degree, encouraging to the faults of the voice, than the ap- 
proving judgment of the million is subversive of the rigid 
discipline of the mind. 

Physiologists have described, and classed the organic posi- 
tions by which the alphabetic elements are produced. This 



INTRODUCTION. xx [[[ 

has been done by the rule, and with the success of philosophy. 
On other points their attempts have not been so satisfactory. 
In investigating the subject of Intonation, that is, the move- 
ment of the voice in regard to its Pitch, they have not desig- 
nated by some known or invented scale, the modes and de- 
grees of such movements ; and thus furnished the required 
and definite detail in this department of speech. They have 
rather given their attention to such questions as these : — 
whether the organs of the voice partake of the nature of a 
wind or stringed instrument; — how the falsette is made; — 
and whether acuteness and gravity are formed by variations 
in the dimensions of the glottis, or in the tension of its chords. 
In their experiments they have removed the organs from men 
and other animals, and have produced something like their 
living voices by blowing through them. They have carefully 
inspected the cartilages and muscles of the larynx, to discover 
thereby the immediate cause of intonation, whilst they were 
ignorant of the very modes and degrees of that intonation. 
In short, they have tried to see sound, and to touch it with 
the dissecting knife — and all this, without reaching any posi- 
tive conclusion, or describing more of the audible effect of 
the anatomical structure, than was known two thousand 
years ago. 

The Greek and Roman rhetoricians, and writers on music, 
recorded their knowledge of the functions of the voice. They 
distinguished its different qualities by such terms as hard, 
smooth, sharp, clear, hoarse, full, slender, flowing, flexible, 
shrill, and austere. They knew the time of the voice, and 
had a view to its quantities in pronunciation. They gave to 
stress, under its form of accent and emphasis, appropriate 
places in speech. They perceived the existence of pitch, or 
variation of high and low : and were the first to make an 
exact and beautiful analysis on this subject. They dis- 
covered two modes of ascent and descent in Pitch ; one 
by a continuous rising or falling slide, which they called Con- 
crete sound : the other by a discontinuous movement, or a 
skip in ascent or descent, which they called Discrete sound. 



xxiv INTRODUCTION. 

They al?o ascertained that the concrete was employed in 
Speech, and the discrete on musical instruments. Though, 
from carrying the analysis no further, they erroneously sup- 
posed, as we shall learn hereafter, that the concrete was 
solely appropriated to speech ; the discrete solely to instru- 
ments. 

The ancients however show no acquaintance with the sub- 
divisions, definite degrees, and particular applications of these 
two general modes of pitch, for the discriminative purposes of 
oratorical use: and if we may judge, from an attempt by 
Dionysius of Halicarnassus to point out the difference be- 
tween singing and speech, and from some other descriptions, 
totally irreconcileable with any of the proprieties of modern 
intonation, we must believe that on this point they made but 
a limited analysis ; that the uses of pitch, or of the tones of 
the voice, as they are called, were conducted altogether by 
imitation ; and that the means of improvement were not re- 
duced to any precise or available directions of art. 

No one can read that discourse on the management of the 
voice, in Quinctilian's elaborate chapter on Action, without 
allowing to the ancients a power of perceiving many of the 
beauties and blemishes of speech. Yet among the numerous 
indications of their practical familiarity with the art of pub- 
lic speaking, we find no clear description of its elements, nor 
any definite instruction. The abundant detail throughout 
his work, which more than once suggests an apology for its 
minuteness, precludes the supposition that he designedly 
omitted to describe any well known means, by which the 
various modes of the voice might be represented with useful 
precision. 

It is believed that the ancient rhetoricians designated the 
pitch of vocal sounds by the term Accent. They made 
three kinds of accents, the acute, the grave, and the circum- 
flex ; signifying, severally, the rise, fall, and turn of the voice. 
The existence, in Greek manuscripts, of certain marks, which 
however were not applied till about the seventh century, 
afforded the only data, for modern inquiry into the nature of 



INTRODUCTION. XX v 

Greek intonation, and created a learned dispute, which has 
been continued without one satisfactory result, from the time 
of the Younger Vossius, to the recent days of Foster and 
Gaily. 

If Greek scholars had employed other means than contests 
with each other, for ascertaining the purpose of accentual 
marks, it would long ago have been determined whether 
they direct to any practical knowledge of Greek utterance, 
or are merely a subject for useless contention. Had the 
tongue and the ear been once consulted on this point, these 
symbols, even with the certainty of their alleged use, would 
have been rejected as vague and meagre representations of 
the rich and measurable variety of the voice. 

The disputants found that degree of obscurity in the an- 
cient records on accent, which encourages the profitless la- 
bors, and alternate triumphs of party ; which subjects opi- 
nion to all the chicanery of sectarian argument, and shuts 
out the conclusive inquiries of independent observation. In 
the full spirit of the old dialect'c art, they 'discoursed about 
truth until they forgot to discover it :' and whilst they ex- 
hibit a distressing waste of time and thought and temper, by 
seeking in the obscurity of unfinished records, that light 
which would readily have arisen on their observation, 
they hold out to the future historians of literature, a temp- 
tation towards the sarcastic inquiry, — whether the writers 
on Greek and Roman accent were endowed with the powers 
of hearing and pronunciation. 

Since the decline or limitation of classic authority, modern 
inquirers, by listening to the sounds of their own language, 
have at last undertaken to discover other elemental functions 
of the voice, than those represented by accentual marks. 

The w r orks of Steele, Sheridan and Walker, have made 
large contributions to the long neglected and still craving 
condition of our tongue. 

Mr. Joshua Steele published, at London, in the year seven- 
teen hundred and seventy-five, ' An essay towards establish- 

4 



xxvi INTRODUCTION. 

ing the melody and measure of speech, to be expressed and 
perpetuated, by peculiar symbols.' The design of this essay 
was suggested by some remarks on the nature of speech, 
made by Lord Monboddo, in his * Origin and progress of lan- 
guage :' and was executed, in part, under the form of an 
argumentative correspondence between this Author and Mr. 
Steele. 

Future times may smile at some of the effects of classical 
pursuits, if they should ever know that a free inquirer had 
considerable difficulty, in convincing a scholar, at the end of 
the eighteenth century, that the English language has those 
properties of accent and quantity, which were supposed to 
belong exclusively to the Greek and Latin : for this was 
the subject of controversy. Mr. Steele has therefore given 
a notation of the time of the voice ; and shown that the same 
concrete intonation which belonged to syllables of the Greek 
language, is necessarily heard on those of his own. But his 
inquiry into the elementary nature of that intonation, was 
unsuccessful. For if we except his indefinite representations 
of some new forms of the circumflex accent, we shall find 
that he made no advances beyond the few but fundamental 
truths of ancient analysis. In attempting to delineate the 
melody of speech, he adopted those leading fictions of the 
Greek elocution — that the vocal slides are somehow made 
through enharmonic intervals ; and that three tones and a 
half is the measure of the accentual concrete in ordinary dis- 
cource. The influence of these delusions, together with his 
belief in certain fancied analogies between the system of 
music and the melody of speech, rendered his account of in- 
tonation meagre, indefinite and erroneous. The principal 
design of his work is, to set forth a system of Rythmic No- 
tation, by which the accidents of emphasis and pause may 
be represented to a pupil ; and the habit of attention fixed 
on these great points in the art of reading. 

Mr. Steele seems to have possessed nicety of ear ; a know- 
ledge of the science and practice of music ; and an originality 



INTRODUCTION. xxv ii 

of mind, created by observation and reflection : powers suf- 
ficient, when not restrained or perverted, to have developed 
the whole philosophy of speech. 

Had he not begun and continued his investigation through 
the distracting means of controversy ; had not his attention 
been drawn into the desultory course of argument ; had not 
his courtesy towards the opinions of others partially be- 
trayed him to their authority ; had he not assumed as identi- 
cal those points of music and of speech which his observation 
would have proved to be different ; and had he not looked 
back to the ancients and the dark confusion of their commen- 
tators, but in self-superiority to all this obstructive influence, 
kept his full-sufficient and undeviating ear on nature, she 
would at last have led him up to light. 

Mr. Sheridan is well known by his accurate and system- 
atic investigation of the art of reading : and though he im- 
proved both the detail and method of his subject, in the de- 
partments of pronunciation, emphasis, and pause, he made 
no analysis of intonation. A regretted omission ! The more 
so, from the certainty, that if this topic had seriously invited 
his attention, his genius and industry would have shed much 
light of explanation upon it. 

Mr. Walker, who, by his rhetorical and philological labors, 
has contributed largely to the improvement of the English 
language, exhibits in more than one place of his works, that 
the varieties of intonation were studiously examined by him : 
indeed, he reiterates his claims to originality on this subject. 
Mr. Walker may have been the first to endeavor to apply 
the confused and conjectural system of ancient accent to a 
modern language : but he has scarcely gone beyond the 
analysis on which that ancient system was founded. The 
Greek writers on music, had a discriminative knowledge of 
the rise, fall, and circumflex turn of speech. Aristoxenus the 
philosopher, a pupil of Aristotle, discovered, or first de- 
scribed, that peculiar rise and fall of sound by a concrete or 
continuous progression, which distinguishes the vocal slide, 



xxviii INTRODUCTION. 

from the skipping or discrete transition on musical instru- 
ments. 

Mr. Walker does triumphantly claim the discovery of the 
inverted circumflex accent, or the down ward-and upward 
continued movement. Yet, if it is correctly inferred from 
the dates of publication, and from Mr. Walker's rather de- 
risive allusion to Mr. Steele's essay, that the latter author 
preceded him, he might have found, in Mr. Steele's gravo- 
acute accent, proof of the real existence of his newly found 
function of the voice. 

Mr. Walker was a celebrated elocutionist, and may have 
known well how to manage his intonation ; but in his attempt 
to delineate its degrees, he is even less definite than Mr. 
Steele. His insinuation that music and speech, each being 
but varying affections of sound, should not be illustrated by 
some analogous notation, and his erroneous diagrams of the 
progress of pitch, are instances of a want of reflection and of 
obtuseness of ear, which would be quite reprehensible in any 
one, who, without compulsion, should undertake to investi- 
gate the relationships of sound. 

I have thus endeavored to point out the sources of our 
present knowledge of the functions of speech. In a general 
view of its amount, it appears: — that the number, the kinds, 
and the organic causes of the Alphabetic Elements have long 
since been recorded, with great accuracy and detail. — That 
Quantity, or the Time of syllabic utterance, together with 
the subject of Pause, had been distinguished only by a few 
indefinite terms, until Mr. Steele, with much discriminating 
perception, applied to speech some of the principles and 
symbols of musical notation. — That accent or the means of 
distinguishing a syllable by stress or intensity of voice, has 
been definitely described in English orthoepy, both as to its 
places and degrees. — That this syllabic stress, though at- 
tentively regarded, in the grammatical institute of the Greeks, 
is yet in their records so confounded with the doctrine of the 
rise and fail and circumflex turn of the voice, that we are 



INTRODUCTION. xxix 

left altogether in doubt, as to their systematic and separate 
use of these different functions of speech. — That Emphasis, 
restricted to the purpose of making one or more words con- 
spicuous, by intensity of voice, has long been a subject of 
rhetorical attention ; Mr. Walker however being the first 
among modern philologists, who attempted, under the teims 
upward and downward slide, to connect any formal idea 

of Intonation with it. And finally, that the analysis of 

Intonation has not been extended much beyond the record- 
ed knowledge of the ancients. Greek and Roman writers 
tell us, of the acute, grave, and circumflex movements ; and 
these, with the newly described inverted-circumflex, have, at 
a recent date by Mr. Steele and Mr. Walker, first been re- 
garded, in the art of speaking the English language. 

These four general heads of intonation are truly drawn 
from nature: yet, with their present indefinite meaning, they 
are useless for practical instruction, and are no less im- 
perfectly expressive of the measurable modifications of speech, 
than the four cardinal terms of the compass are descriptive 
of all the points, distances, and contents of space. 

The discovery of the above mentioned distinctions in into- 
nation, which must indeed form the outline of all nicer dis- 
criminations, was the result of philosophical inquiry. A 
much more abundant, but not more precise nomenclature 
has been derived from criticism. The following phrases are 
extracted from a description of Mr. Garrick's manner of 
reading the church service, and have an especial reference 
to the intonation of his voice. — ' Even tenor of smooth regular 
delivery' — ' Fervent tone' — ' Sincerity of devotional expres- 
sion' — ' Repentant tone' — ' Reverential tone' — ' Evenness of 
voice' — 'Tone of solemn dignity' — 'Of supplication' — 'Of 
sorrow and contrition.' 

Those who know what constitutes the accuracy of terms, 
must confess that these, and similar attempts to name the 
signs of expression, have no more claims to the title of clear 
elemental description, than belongs to the rambling signifi- 
cation of vulgar nomenclature. We are not aware that no 



XXX INTRODUCTION. 

describable perceptions are associated with these phrases, 
until required to illustrate them by some definite discrimi- 
nation of vocal sounds. ' Grandeur of feeling,' says a writer; 
* should be expressed with pomp and magnificence of tone ;' 
and we may presume, from his mode of elucidation that this 
expositor, if asked — how pomp and magnificence of feeling 
should be expressed, would naturally have answered, — by 
grandeur of tone. Such rules for the expression of speech, 
which however abound in our systems of elocution, are re- 
solvable into words, without explanatory meaning. Nor can 
any weight of authority give them the power of description: 
since the terms ' sorrowful expression,' and « tone of solemn 
dignity' in the precepts of an accomplished Elocutionist, have 
no more precision of meaning, as to the modes and degrees of 
pitch, time, and force of voice, than those of * fine turned 
cadence,' and ' chaste modulation,' in the idle criticism of a 
daily gazette. 

All arts and sciences appear under two different conditions. 
They may be seen through the medium of terms of vague sig- 
nification, adapted to the limited knowledge and feeble senses 
of the ignorant, in every caste of society. Those who view 
them under this condition, in vainly pretending to discrimi- 
nate, express nothing but their approbation. In the other 
light, they are shown in definite delineation, by a language 
of unchangeable meaning; and independently of the per- 
versions, which slender ability, natural temper, or momen- 
tary humor may create. He who thus views an art, in ex- 
pressing his approbation, always discriminates. 

Some branches of the art of speaking, are, even at this late 
period, scarcely removed from the first of these conditions. 
This might seem to be strange, if the causes were not so 
manifest. The specific constituents of intonation and force 
and time, have never been described: and the mind has 
consequently w r anted that stimulus to attention, which abun- 
dant and definite terms always afford The fulness of the no- 
menclature of an art is directly proportional to the degree of 
its improvement; and the precision of its terms is the index 



INTRODUCTION. xxx i 

of its systematic perfection. The few and indeterminate 
designations of the modes of sound in Reading, compared 
with the number and accuracy of the terms in Music, imply 
the different degree of success with which each has been 
cultivated. The inquirers into the nature of speech, have 
given up their judgments to authority, and their pens to 
quotation. The musician has devoted his ear to observation, 
and his labor to the trial of its truth. The words, quick, 
slow, long, short, loud, soft, rise, fall and turn, include nearly 
all the analytic terms of the art. How far they fall short of 
an enumeration of all the functions of the voice, and how 
fairly the present condition of our knowledge is here repre- 
sented, shall be determined by an age to come, when the ear 
will have made deliberate examination. 

A conviction of the imperfect state of our knowledge in 
some of the branches of the art of speaking, first suggested 
the design of the ensuing investigation: whilst a hope to in- 
fluence others to assist in the completion of a desirable mea- 
surement and method of the voice, produces the present pub- 
lication. If it should not furnish a plan for the future es- 
tablishment of the principles of Intonation and Time and 
Force, I must still desire to believe, without controversy, in 
the attainable nature, and practical benefits of such a work* 

I cannot withhold from this place, a few very general re- 
marks on the importance of fixed principles in the arts; not 
only because these principles are the true sources of the 
intellectual enjoyment which the arts afford, but because 
they are the most effective means for their improvement* 
And although the entire want of such principles, for the 
government of Intonation, has unnecessarily led to the belief 
that they cannot, be instituted; it will be shown, in the 
following essay, that they are not only as essential, but like- 
wise as attainable in Elocution, as in any other art which 
employs the judgment, and interests the imagination. 

Those persons who receive the highest enjoyment from the 
works of art, know well, that its fulness and durability are 
derived from the wide and vivid discernment, which is 



xxxii INTRODUCTION. 

acquired by a disciplined reflection on tho^e principles of 
taste that directed their production. The knowledge of these 
principles gives power to the artist, and delight to him who 
contemplates the work. Whatever the natural sensibility 
may be, it is not the impression of form, or color, or sound, 
merely passing into the eye or ear, that creates an enlight- 
ened perception of the objects of the fine arts. Delicate or- 
ganization, or call it genius here if you will, is indeed essen- 
tial to this perception: but it is the activity of the senses and 
the mind in the work of comparison, and in the application 
of pre-established rules, which by developing the latent ten- 
dencies of this natural susceptibility, constitutes the liberal, 
the extended, and the lasting pleasure of taste. And if there 
is yet to be discovered some surpassing efficacy of art, it can 
never be attained, except through the influence of sure and 
comprehensive principles: derived indeed from the study of 
nature, but applied, to represent her chosen and corrected 
forms, and thereby to exalt even nature above herself. 

Besides the sources of contemplative pleasure, and means of 
improvement which principles afford an art, their powers are 
operative after a temporary decline, or total loss of its prac- 
tice. They effect a speedy restoration when the influence 
of evil example has passed away, or a tradition of former 
excellence has produced a desire for its revival. The definite 
description of elementary constituents, and the statement of 
the rule of their use, are particularly necessary in the art of 
speaking well; since its exercise leaves no durable effect 
The works of art, unaccompanied by the history of their 
production and uses, are often as deep an enigma, as the 
works of nature: and a long course of observation is in each 
case equally required, to note and class their phenomena, and 
to discover their efficient and final causes. 

Although the ancients have left us abundant eulogistic 
anecdotes on the art of Painting, they have done little more 
than allude to those rules of composition, design, light and 
shade, and coloring, by which their great masters improved 
upon that nature which they imitated: and the want of a 



INTRODUCTION. xxx iii 

knowledge of these, even with the benefits of patronage, was 
one cause of the delay of at least two centuries, in the gra- 
dual progress of the art to its full restoration, in modern 
Europe. Stories of the graces of ancient Design were re- 
volved in the minds of the image-makers of Italy, and of 
decorators of cloisters, like the problems of the mechanical 
wonders of Archimedes, which were not to be solved by re- 
cord or tradition. 

Ancient architecture has, by means of the fragments of its 
ruins, been revived in modern days, to that degree which 
may be attained through precision of measurement: and 
under this view, its remains have furnished the highest 
examples for imitation. Delicate observation, aided by a re- 
fined taste in other arts, is yet to be employed, in order to 
retrieve the knowledge of those principles which must have 
directed the varied excellence of the Greeks: but which 
Vitruvius perhaps designedly omitted, whilst compiling a 
popular book for builders; and which Pausanias, in his 
hurried tour, forgot to set down, as the proper preface to his 
inventory of temples. 

If the old writers on music had not transmitted some ac- 
count of the ancient scales, and their practical applications, 
the records of Choragic monuments, and the accounts of the 
Odeum would have created in us, only a stupid wonder at all 
the works of sound. The inventive mind of Guido, instead 
of completing the modern scale, might have only laid its 
foundation, by fixing a single chord across a shell, and the 
finished system of modern harmony might now have been 
but just begun. 

The following essay exhibits an attempt to delineate the 
varying modes of speech, with that precise analysis which 
may render criticism instructive, and afford to future times, 
the means of comprehending its discriminations. 

Discussions on the subject of standard principles, in some 
of the arts, have always involved the question of their origin: 
and nature has generally been assumed as the source. 

5 



xxxiv INTRODUCTION. 

There are two conditions, under which nature affords her 
governing rules. In one, she is taken as the model for exact 
imitation, in those branches of art, which profess to copy 
her full and actual details. Here the standard consists mere- 
ly in the truth of the resemblance. In the other, where it 
is the purpose of art to exalt its creations, by an imaginative 
correction of the exceptionable details of nature; or by a 
selection from her scattered integrals of beauty, the standard 
grows out of that congenial judgment and feeling, which is 
exhibited in strong similarity among persons of equal senti- 
ment and cultivation: and which, if it does not prove con- 
formity of taste to be the development of an irreversible law 
of nature, at least affords education effectual means to or- 
dain it. 

The uses of the voice have not yet been brought under 
either of these conditions. Nature, or what is called nature 
in this case — unenlightened humanity, cannot be taken as 
a model for imitation in her cases of individual utterance; 
since she never furnishes a single instance, worthy, in all 
respects, to be copied: and from the want of a full knowledge 
and definite nomenclature of the elements of speech, there has 
never been that clear perception of the characteristic causes 
of beauty and deformity, which w r ould warrant the institution 
of a standard, either by the method of selection, or by that 
of the exalting power of the imagination. The highest 
achievements in statuary, painting, and the landscape, con- 
sist of those ideal forms and compositions, which are perhaps 
never found singly existent, or purely associated in nature; 
but which in the estimation of Cultivated Taste, and its per- 
fecting agency, far surpass her individual productions. 

In the followiug essay, the reader will find an analysis of 
the human voice, which will enable an Elocutionist of any 
nation, to reduce to established form, the best modes of speech 
in his language. For this analysis will show that the vocal 
signs of expression have a universality, coexistent with the 
prevalence of human feelings: and that a grammar of elocu- 



INTRODUCTION. XXXV 

tion, like that of music, must be one and the same for the 
whole family of man. He will also find the outline of a 
system of principles .that I have ventured to propose, upon a 
survey of those excellencies of utterance, which are accom- 
modated to the temper and habits of the English ear; and 
which, in analogy with the above named arts, may be called 
the Ideal Beauty of speech. 

This undertaking is indeed opposed to a vulgar error The 
imperceptible nature, as it is affirmed, and the fancied in- 
finity of the vocal elements, together with the rapid course, 
and perpetual variation of utterance are considered as in- 
superable obstacles to the palpable representation of the 
modes and principles of the speaking voice. This objection 
will be hereafter answered, otherwise than by verbal argu- 
ment. But we may here ask, if there is no opportunity to 
count the radii of a wheel but in the race; or to number and 
describe the individuals of a herd, except in the promiscuous 
mingling of their flight. Music, with its infinitude of details, 
would still have been a mystery, if the doctrine of its inter- 
vals and time, and the modes of their construction could have 
been caught, only from the multiplied combinations and ra- 
pid execution of the orchestra. The accuracy of mathemati- 
cal calculation, joined with the sober patience of the ear over 
the slow practice of its elements, has not had more success 
in disclosing the system of this beautiful and luminous science, 
than a similar watchfulness over the deliberate movements 
of speech, will afford for the facilities of observation, and the 
concious use of its acquisitions. If there is any scope in the 
works of nature, or any foredoomed efficiency of means to 
complete the circle of her designs, we shall find, on the de- 
velopment of the scheme of speech, those unalterable rules, 
within the pale of which the voice should be variously ex- 
ercised, in order to give light to the understanding, and 
pleasure to the ear. 

The accurate sciences and the fine arts, without regard to 
the specific claims of each, have been set in wider opposition 
than is justified by a view of the grounds of their respective 



xxxvi INTRODUCTION. 

truths. The careless argument asserts that taste is a vari- 
able feeling, and has no rule of grandeur, grace and beauty, 
in the selected or imaginative uses of form, color and sound. 
If there is a general agreement among men of equal taste 
and education in the arts, this agreement must be founded 
on some universal principle of the cultivated intellect. The 
consent therefore, arising out of the nature of the mind, gives 
a character of truth to the principles of taste, analogous at 
least to that, which by a like universal consent on the sub- 
ject of abstract relationships, forms the full and unquestion- 
able truth of the accurate sciences. Under this view of the 
foundation of the principles of the fine arts, we must find the 
scale of their truth, as that of the truth of the exact sciences, 
in the measure of the agreement of those who cultivate them. 
He who knows that all men find the same properties in a 
circle, knows that particular excellencies of the painter, poet, 
architect, orator, statuary, composer, landscape improver, and 
actor, have in all ages reached the spring of congenial per- 
ception, in those who reflect upon their works, and drawn 
therefrom a stream of everduring approbation. 

Though future times may possibly break down the mis- 
chievous distinction, which assigns a different kind of logic 
to different departments of knowledge: and may subject all 
nature and art equally to the simple and sufficient process 
of observation and classification: still it may well seem to 
the present age, that between the perception of beauty in 
the arts, and of the accidents of mathematical quantity, 
there is little similarity. But there is perhaps, no other 
reason for the acknowledged certainty of the relationships 
of magnitude and number, than the general consent of those 
who inquire into them. We agree upon them, because we 
all use the same rigid rule of observation, call it reasoning 
here if you will; and because we can embrace and con- 
template all the premises which are involved in a conclusion. 
It is trifling to urge, that the properties of a conic section 
would still exist as truths, though they might never be de- 
monstrated. Truth is a term invented for the uses of a 



INTRODUCTION. xxxvii 

percipient being; and the question before us is of knowledge, 
not of notions. Otherwise we might, with like proof of an 
eternal rule of taste, assert that the fine proportions of a 
Greek column existed unhew T n and unseen in the quarry ; — 
like that conceit of old, which declared that the Venus of 
Gnidos was not the work of Praxiteles ; since nature herself 
had concreted within the marble the boundary but hidden 
surface of its beauty : the artist, when the statue came to 
light, having only produced the fragments of his chisel, and 
the dust of his file. I speak here against an unlimited as- 
sertion of the variableness of the principles of taste, and the 
apathy evinced by a neglect to discover or establish them; 
not of an equality in precision between them and the truths 
of the exact sciences. 

Controversies on points that involve the leading principles 
of taste, are generally, contentions of the ignorant with 
artists, or with one .another; and rarely the differences of 
educated and intelligent artists among themselves. If the 
latter fail in setting their authority, or in extending the 
benefits of their principles over the presumptuous part of the 
multitude, it does not prove that a standard may not belong 
to the arts, or that artists do not enjoy the delightful effects 
of it ; but that there is more assuming vanity in the world 
than fellowship in knowledge. Silence or modest inquiry is 
the duty of the ignorant; and w 7 here neither is performed, 
nature seems, in their cases, to have departed from her plan 
in animal creation, by not withholding from them the liti- 
gious faculty of speech 

These differences cannot, of themselves, call in question 
the authority of principles in the arts. Most of the phe- 
nomena of cause and effect, in Natural Philosophy, are as 
obvious as proofs of the properties of curves, by the most 
exact calculus. Still pretenders, in every condition of life, 
are constantly trespassing within the bounds of this science, 
by the absurdity of their reasonings with each other, on 
points of natural knowledge. Knaves exhibit their schemes 
for producing Perpetual Motion, and the whole host of learn- 



Xxxviii INTRODUCTION. 

ed and unlearned credulity cannot change the influence of 
those principles, which at once determine the mechanical 
impossibility. 

There is a wholesome kind of conviction on the minds of 
fools, which forces them to confess their want of knowledge 
in mathematics, if they have not studied that science. But 
taste, say they, is natural, therefore every one should have 
his own. It is true, every one knows what will please him- 
self, in his ignorance: but the wise only know what will 
please the intelligent, in their education. 

In thus advocating the necessity of precepts for the pro- 
motion and government of taste, I deprecate any inference 
that these precepts, by furnishing the standard for an art, 
tend to confine it to unalterable limits. Established princi- 
ples are not as the barrier of a flood, which in protecting 
from inroad, restrictively prevents the opportunities of fur- 
ther conquest, but as the guide and escort of the arts, to 
acquisitions of wider glory. With the exception of the mis- 
used principle of variety, I cannot name an art which has 
not been supported and advanced by their adoption. The 
search after novelty, or variety by succession, as it may be 
called, has, through the restless designs of vanity, and the 
influence of unguarded patronage, ruined more arts than all 
the destructive ignorance of the barbarian. 

The high accomplishments in Elocution are supposed to 
be, universally, the unacquired gifts of genius, and to consist 
of powers and ' graces beyond the reach of art.' So seem 
the plainest services of arithmetic to a savage: and so, to 
the slave, seem all the ways of music, which modern art has 
so accurately penned, as to time and tune and momentary 
grace. Ignorance knows not what has been done ; indo- 
lence thinks nothing can be done ; and both uniting, borrow 
from the abused eloquence of poetry, an aphorism to justify 
supineness of inquiry. 

It has been said, that a discovery of the full resources of 
the arts affords the means of debasement, or of perversion 
from their original purposes. This indeed has sometimes 



INTRODUCTION. xxxix 

been the case. By an extension of the powers of musical 
execution, in the voice and on instruments, this art is, 
through misused mechanical skill, and the waywardness of 
undiscerning patronage, frequently exercised to the in- 
difference or disgust of those, whose approbation would be 
durable; and to the thoughtless satisfaction of those whom 
the united caprice of ignorance and fashion may urge equally 
to support or to destroy. 

A full knowledge of the principles and practice of an art, 
enables an industrious and ambitious votary to approach 
perfection; whilst idle followers are contented with the 
defaults of imitation. With most men, the labor of the 
mind, equally with that of the body, ceases with the removal 
of its necessity ; and a shameless dependence on the intel- 
lectual alms of others is not less common, than the populous 
growth of pauperism upon the increasing provisions of be- 
nevolence. The unbounded distributions of genius, prompt 
to excuses for indolence and to claims for succour, and the 
empire itself of the art, at last falls under the insurrection 
and anarchy of its former servile dependants. 

It is thus readily admitted that a full analysis of speech, 
together with the establishment of a system of principles in 
the art, will not always exempt it from abuse or ruin. But 
I cannot therefore, refrain from recommending a mode of 
cultivation, which must ensure the highest satisfaction, 
whilst the art remains uncorrupted, and which, by the re- 
cord of its definitions and method, will afford the best means 
for any needed restoration. 

Perhaps there is no error in asserting that the art of 
speaking well, does not consist of those accidents, which, 
by arbitrary use, are apt to lead to debasement. Some of 
the fine arts may receive the addition of Ornament, properly 
so called ; which holding but a separable relationship to its 
subject or principal, leaves taste to order the degree of its 
application, or its total exclusion. The art of speaking is 
subject to no such conditions. The embodying of sense by 
sound, and the coloring of feeling by its expressive modes, 



Xl INTRODUCTION. 

are fixed in their amenity by the unalterable instincts of 
nature, or the satisfactory decisions of convention. All ad- 
dition to the numbered signs of its language is redundancy, 
and all misplaced utterance is affectation. 

The following history of the voice is addressed especially 
to those who pursue science with attention and perseverance ; 
who prefer its useful accuracy to its ostentation; who are 
satisfied with the 'few — but fit audience;' — and who know, 
from their own happy experience, that exactness of knowl- 
edge is the bright felicity of intellect. To inquirers of this 
character, it need not be said, that even the rapid flight of 
speech may be more easily followed, when the general prin- 
ciples of its movement are understood. The hesitation of 
the ear will be prompted by the mind, and we shall more 
readily discern what is, by knowing what ought to be. 

After the preceding representation of our limited knowl- 
edge of the functions of the voice, and upon the promises of 
a more extended and precise analysis, the reader must not 
be surprised to find, in the following essay, a new and co- 
pious nomenclature. When unnamed additions are made to 
the system and detail of an art, terms must be invented for 
them: and even when its known phenomena are exhibited 
under varied relationships, the purpose of description is less 
perplexed by the novelty of terms, than by an attempt to 
give another application or meaning to former names. 

Many of the varieties of pitch having been accurately 
designated and clearly arranged in music, its applicable no- 
menclature has been transferred to the description of speech: 
and whenever a language has been purposely framed, I have 
endeavored to make it, by direct or metaphorical use, purely 
explanatory of the nature of the vocal functions. 

Although I have gone deeply into the philosophical analy- 
sis of speech, and have spared no pains in illustrating what- 
ever might, from its novelty, be otherwise obscure; I have 
not pretended to make specific application of all the princi- 
ples here laid down, to every case of the reading and speak- 
ing voice. As the design of this essay is, to promulgate a 



INTRODUCTION. x li 

new Institute of Elocution, I have endeavored to accommo- 
date the full requisitions of the subject, to the limitations 
of my time, by brief generalities of explanation and method: 
which in holding the light of instruction, broadly but dis- 
tinctly over the whole, may enable others to perceive the na- 
ture and relationship of the parts; and thus with the closer 
and more particular hand of detail, to unite in purpose for 
the completion of the work. The full development of an 
art, in all its practical bearings, must be the united product 
of many, and of their lives. Here is the result of the leisure 
of about three years, snatched from the daily duty of exten- 
sive professional occupation. If in discharging the duties of 
that profession, I have selected from its physiological de- 
partment, a subject of inquiry which gives its ultimate ser- 
vices in another art, I have not therein forgotten that nature, 
who never is ungrateful to the eyes that watch her, has still 
her secrets in the human frame, yet to be told for the health 
or happiness of man : the future search after which, may not 
be without success, and will not be without the satisfaction 
experienced in conducting these offered scrutinies of the 
tongue and ear. 

The reception which may await the following work, can 
be of no important interest to me. By taking care to ante- 
date the season of its rewards and punishments, I have 
already found them in the varied pleasure and perplexity of 
its accomplishment. I leave it therefore for the service of 
him who may in future desire to read the history of his 
voice. The system here exhibited will satisfy much of his 
curiosity : for I feel assured, by the result of the rigid mode 
of observation employed throughout the inquiry, that if 
science should ever come to one consent on this point, it 
will not differ essentially from the ensuing record. The 
world has long asked for light on this subject. It may not 
choose to accept it now : but having idly suffered its own 
opportunity for discovery to go by, it must, under any 
capricious postponement, at last receive it here. 
6 



xlii INTRODUCTION. 

Sir Joshua Reynolds has a pretty thought on the labors 
of ambition and the choice of fame. I do not remember his 
words exactly ; but he figures the present age and posterity 
as rivals, — and those who receive the favor of the one, as 
being outcasts from the other. This condition, while it 
allows a full but transient satisfaction to the zeal which 
works only for a present reward, does not exclude all pros- 
pect from those who are contented in the anticipation of 
deferred success. — Truth, whose first steps should be always 
vigorous and alone, is often obliged to lean for support and 
progress on the arm of Time ; who then only, when support- 
ing her, seems to have laid aside his wings. 



Philadelphia, January, 1827. 



THE 



PHILOSOPHY 



OP 



THE HU1MAN YOICE. 



SECTION I. 

Of the general Divisions of Vocal Sound : xoith a more 
particular account of its Pitch, 

All the varieties of sound in the human voice, may be 
referred to the following general heads : 

Q.UALITY, 

FORCE, 

TIME, 

ABRUPTNESS, 

PITCH. 

The detail of these five genera, and of the multiplied com- 
bination of their species, includes the enumeration of the 
articulating and the expressive powers of speech. 

It would be fruitless to attempt to give an analytical his- 
tory of the voice, without the use of definite terms for the 
appreciable modes of sound. It is therefore proper to in- 
quire how far common nomenclature fulfils the purposes of 
precision ; and by what means any obvious deficiency may 
be supplied. 

The terms by which the Quality or kind of voice is dis- 
tinguished, are — rough, smooth, harsh, full, slender, thin, 
musical, and some others of the same metaphorical structure. 



44 DIVISIONS AND DEFINITIONS. 

They are sufficiently numerous ; and as descriptive as possi- 
ble, without reference to fixed and exemplar sounds. An 
attempt towards this kind of illustration has been made, by 
variously distinguishing the singing voice, according to its 
resemblance to the sound of the reed, the string and the 
musical glass. The voices of inferior animals also afford 
analogies to the variety of quality in the human voice. 

For the specifications of Force we use the words — strong, 
weak, feeble, loud, soft, forcible, and faint. These are inde- 
finite in their indication, and without any fixed relationship 
in degree. Music has more orderly and numerously distin- 
guished the varieties of force, by its series of terms from 
Pianissimo to Fortissimo. I shall, in its proper place, pro- 
pose some terms answerable to new and curious distinctions 
in the modes of applying this accident. 

Time, in the art of speaking, is subdivided into — long, 
short, quick, slow and rapid. Music has a more precise 
scale of relationship in its order of signs, from semibreve to 
double-demisemiquaver. The single or unaccompanied sound 
of speech does not require that nicety in Time which the 
concerting of music demands; yet there is need of more pre- 
cision in designating its species than the usual terms of pro- 
sody afford. Mr. Steele has given, in his work, a notation 
of time, sufficient for all the syllabic purposes of discourse. 
I shall hereafter make a division of this accident, with 
reference to English syllables, and to their uses in utter- 
ance. 

I employ the term Abruptness to signify the sudden and 
full discharge of sound, as contradistinguished from its more 
gradual emission. Abruptness is well represented by the 
explosive notes which may be executed on the bassoon, and 
some other wind instruments. I have given this mode of the 
voice, the place and importance of a general head, not only 
because it is an expressive agent in speech, but because its 
characteristic explosion is peculiar, and quite distinct from 
the nature of Force ; to which, from its admitting of degrees 
of intensity, it might seem to be allied. 



DIVISIONS AND DEFINITIONS. 45 

The variations of Pitch are denoted by the words — rise 
and fall, high and low. The vague import and the insuffi- 
ciency of this division were shown in our introduction : and 
as the following history of the voice makes especial reference 
to this accident, and gives a minute detail of its varieties, it 
is necessary to adopt a full and more definite nomenclature 
of its degrees. 

It happened well, for our assistance in developing the 
functions of speech, that the phenomena of pitch were long 
ago observed, analyzed and named in the proper science of 
music. It will however be shown that some of the varieties 
of pitch, in the speaking voice, and their modes of applica- 
tion, are not technically known in that science. For these I 
have made a language. But most of the movements of the 
musical system are also found in speech. It is advisable 
therefore to adopt the musical terms for these identical 
functions; not only because they are already known to 
many, and may, through elementary treatises, be easily 
learned by all ; but because the application of different 
names to things essentially the same, would counteract 
one great object of philosophy ; which is — to include all 
similar facts under the same nominal classes : notwithstand- 
ing their different positions in the regions of nature and art, 
might seem to call in question their identity. I shall there- 
fore give a concise account of the terms by which the phe- 
nomena of pitch are distinguished in music. 

In entering upon this elementary and important explana- 
tion, wherein a recognition by the ear, of sounds merely 
described, is absolutely necessary for comprehending the 
subsequent parts of this work, I must beg the reader not to 
be discouraged by temporary difficulty. He who has been 
taught the principles of instrumental or vocal music, and is 
able to execute accurately, what is called the Scale or Gam- 
mut, will understand the following descriptions and defini- 
tions without much hesitation. He who knows nothing of 
the relations of musical sounds, nor of the regular scale on 
which they have been arranged, must on this, as on so many 



46 DIVISIONS AND DEFINITIONS. 

other subjects of the school which need perceptible illustra- 
tion, have recourse to a living instructor. He can generally 
find at hand instrumental performers, or singing masters, or 
the clerk of some neighboring church, who will exemplify to 
his satisfaction all that is merely descriptive here. 

The reader is not here referred to musicians and singers, 
for any assistance in his application of the principles of 
music to the analysis of speech. The system of mechanical 
formality to which they have at last brought their science, 
together with the wasteful industry of their perpetual prac- 
tice upon difficulties, has, generally speaking, so limited their 
perceptive faculty, that they are often the last to see, in the 
relations of other things, even the most striking analogy to 
the principles of their art. But their own art, merely as an 
art, they know well : to them therefore the reader is refer- 
red, only for the exemplification of that technical nomencla- 
ture, which I have here no other means than that of words 
and diagram to explain. 

The term Pitch, is applied to the variations of sound, be- 
tween the lowest and the highest appreciable degree. This 
variation between gravity and acuteness, is represented in 
the human voice, by the two extremes of hoarseness and 
screaming. 

The different degrees of Pitch in music are marked on 
what is called the Scale : the formation of which may be 
thus illustrated : 

When the bow is drawn across any one of the strings of a 
Violin, and the finger at the same time gradually moved, 
with continued pressure on the string, from its lower attach- 
ment, to any distance upwards, a mewing sound, if I may so 
call it, is heard. This mewing is caused by the gradual 
change from gravity to acuteness, through the successive 
shortening of the string: and as the sound thus rises in 
acuteness by an uninterrupted line of momentary changes, 
it is called a continuous or Concrete sound. This movement 
of pitch, on the violin, is termed a Slide. 



DIVISIONS AND DEFINITIONS. 47 

The reader may himself exemplify this concrete mode of 
sound, by uttering the single syllable aye, as if he were 
asking a question with the expression of earnest surprise, yet 
rather deliberately ; beginning at the gravest and ending at 
the most acute point of his colloquial voice. The gradual 
course of sound in this case is concrete: But as a sound may 
be continued in one uninterrupted progression, upon the 
same line of pitch, it is proper to remark here, that the term 
Concrete, is in this essay, applied only to an uninterrupted 
progression of sound, with a variation of pitch. 

Now the sounds of what is called the Scale in music, are 
not continuous or concrete ; but are made — by drawing the 
bow whilst the finger is held stationary at certain successive 
places on the string: thus showing an interruption of the 
continuous upward slide. These places are seven in num- 
ber, and their distances from each other are determined by 
a scientific rule for subdividing the string, which we need 
not consider here. Other sounds still ascending on the 
string may be made, by a similar interrupted progression. 
But since the second series of seven, though of higher pitch, 
yet adjusted by the same rule, do so accord respectively 
with the first seven, that they may be considered as a kind 
of repetition of them, — and as the same is true of other 
classes of seven, that may be formed between the lowest 
and the highest limit of sound, — the whole extent of varia- 
tion in acuteness and gravity, is regarded as consisting of 
but the simple scale of seven sounds, in different ranges of 
pitch. 

I give, in the margin of the following page, a diagram 
of the places at which we suppose the string to be pressed : 
and have marked numerically the points or places of two 
of the repeated series of seven sounds ; using the initials T 
and S, respectively for the term Tone and Semitone, which 
will presently be explained. 

Upon comparing this picture with the above account of 
the production of concrete sound, and supposing the con- 
crete progression upon the string to be represented by the 



48 



DIVISIONS AND DEFINITIONS. 



T* 



OH 



10 



® 9 



141 



13 



12 



1 



continuous vertical line on which these black 
points are set, it will be perceived that por- 
tions of the concrete must be unheard, when 
the bow is drawn only whilst the finger is 
stationary at the several points. The sounds 
thus produced at these points, omitting the 
intermediate concrete, are, when heard suc- 
cessively, called Discrete Sounds ; And these 
in a given order, as represented by the di- 
agram, constitute a Discrete Scale.* 

The explanation which has thus been 
given of the manner of concrete and discrete 
progressions, in an upward direction, is to 
be understood of the downward course also, 
under a reverse movement of the gradual 
slide and the skip on the string. 

The variations of pitch on most musical 
instruments are discrete. The violin and its 
varieties derive much of their peculiar power 
in execution, from being susceptible of the 
concrete movement; and it is one of the great 
sources, as will be shown hereafter, of Ex- 
pression in the human voice. 

The several points at which we have sup- 
posed the sounds to be made in the discrete 
progression, and which are numerically de- 
signated in the diagram, are called the Places, 
Points or Degrees of the scale. Any two de- 
grees are, by relative position, called Proximate, when they 
are next to each other ; — and Remote, when they include one 
or more proximate degrees between them. 



©5 

#4 

3 



1 J 



* This continuity and disjunction of the line of pitch is known to most musi- 
cians, only under the names of slide and scale. The terms concrete and discrete, 
as here applied, are found in the higher works of the art alone, and are borrowed 
from mathematics j in which science they designate the two great generic di- 



DIVISIONS AND DEFINITIONS. 49 

The distance between any two points in the scale, whether 
proximate or remote, is called an Interval. A musical in- 
terval is defined to be " a quantity of a certain kind, termi- 
nated by a graver and an acuter sound." But for the purposes 
of speech, it is necessary to regard that quantity as either 
continuous sound, or imaginary space ; and to consider the 
effect of the transit of the voice from one degree of the scale 
to another as constituting an interval, whether the voice is 
concretely heard or discretely omitted between them. The 
intervals in their proximate order are measured as follows :* 

The interval, or the quantity of concrete voice either heard 
or omitted between the first and second places, as numbered 
in the diagram, is called a Tone. 

That between the second and third is likewise a tone. 

That between the third and fourth, which appears in the 
diagram, as but half the space of a tone, is called a Semitone. 

The interval between the fourth and fifth ; fifth and sixth ; 
sixth and seventh, is each a tone — and lastly, that between 
the seventh and eighth, or first of the next series, a semitone. 

The intervals between the degrees of the scale, whether 
proximate or remote, are designated numerically; the ex- 
treme degrees being inclusively counted. Thus, from the 
fourth to the third, or from the sixth to the seventh, is the 
interval of a second ; and from the second to the sixth, or 

visions of quantity. Thus Magnitude is the concrete quantity ; for the lines, 
surfaces, and solids which constitute it, have their respective parts, so to speak, 
concreted or united immediately with each other : — whereas Number is the dis- 
crete quantity ; since the succession of its constituent integers is altogether differ- 
ent from any kind of continuity . 

The most familiar illustration of these terms, as applied to the two kinds of 
quantity in musical sound, is furnished by the form of a ladder, in which the side 
rails represent the concrete, and the rounds the discrete. 

* The well informed reader should regard this general view of the scale, and 
the manner of its illustration, with a thoughtfulness of my design. I have omit- 
ted the theoretic distinction of greater and lesser tone, of diatonic and chromatic 
semitone, and of the major and minor scale, together with other particulars, both 
melodial and harmonic, with the intention to notice only what is preparatory to 
the description of speech. 
7 



50 DIVISIONS AND DEFINITIONS. 

from the fourth to the eighth, is the interval of a fifth. And 
so of the rest. 

Though the several discrete sounds of the scale are named 
according to their ordinal number, yet the first, relatively to 
its rising series, is generally called the Key-note : whereas 
the eighth, when considered in relation to the previous key- 
note, is called the Octave ; for otherwise it may be regarded 
as itself the key-note of the following series. 

The succession of the seven sounds of any one series, to 
which the octave is usually added, is called the Natural or 
Diatonic Scale. It consists of five tones and two semitones ; 
the latter being the spaces between its third and fourth, and 
its seventh and eighth degrees. The scale then contains 
these several kinds of intervals, — a semitone; a second, or 
whole tone; a third; fourth; fifth; sixth; seventh; and 
octave. 

By the diagram, the interval between the second and 
fourth degrees, is numerically a third, yet contains but one 
tone and a semitone: whereas, that between the first and 
third contains two whole tones. From this difference in 
extent the former is called a Minor Third and the latter a 
Major Third. But since the minor third is of rare occur- 
rence in speech, the term Third will, in this work, always 
refer to the major interval; and the minor will be specified 
when meant. 

Having thus far, described the construction of the Musical 
Scale, I here advise the reader, who may not be a musician, 
and who may never have heard of the nature of that scale, 
to ask, from some qualified master, an audible exemplification 
of its upward and downward progression, and of its several 
intervals; the varied practical exercises on which are, in 
the language of vocal science, called Solfaing and Solmiza- 
tion. Let him studiously imitate this exemplification, and 
commit it to memory. If destitute of what is called a musi- 
cal ear, let him not think himself unable to learn that which 
he now considers as a part of music. In communities where 
the cultivation of this art is the fashion, these things are all 



DIVISIONS AND DEFINITIONS. 



51 



learned by thousands, who, with their natural ear, would 
never have caught up even a fragment of the commonest 
tune. And I am sure there is no one, into whose hands this 
book will ever fall, who can possibly avoid perceiving the 
several differences of meaning or expression, when he is ad- 
dressed in the language of narrative, surprise, complaint, 
authority, or interrogation. Now these various expressive 
effects are perceptible to him, and accurately so, only be- 
cause they are concrete or discrete movements of the voice 
through certain appropriate intervals of the scale. His ear 
therefore really recognizes these slides and transitions in 
speech. I shall only give to his understanding and his 
tongue, their musical method and names. 

When an instructor cannot be met with, the use of a well- 
tuned Piano-Forte may assist the perception of those who 
have no acquaintance with the scale. On the key-board of 
this instrument there is a front row of white keys, as they 
are called, and a rear row of black ones: a representation 
of the forms and positions of which, is given in the following 
diagram; where a portion of the Great Scale or Compass of 
the instrument is shown; and the white keys numbered 
above in continuation as far as twenty-one; and below in 
repeated septenary series. 



1 2 3 4 5 6 7 8 9 10 11# 12 13 14 15 16 17 18 19 20 21 



i minium 



E 




12 34 567.1 2 34567.12 34 567 

v ; v v ' ' v ' 



Now any one of the septenary series of white keys, — of 
which there are three in the diagram, the first beginning on 
its extreme left, — when struck successively ascending to- 
wards the right, gives the seven discrete rising sounds of the 
diatonic scale. The black keys, whose effect in modifying 
this scale will be noticed presently, are set between the 



52 DIVISIONS AND DEFINITIONS. 

white ones, for the purpose of dividing the whole tones into 
semitones. Hence we see that the black keys are wanting 
at the semitonic intervals of the scale, where, of course, 
their design cannot apply. This omission visibly separates 
the black keys alternately into pairs and triplets. 

With the foregoing explanation, the reader can have no 
difficulty in finding a diatonic series on the white keys of a 
Piano-Forte, since the key-note or beginning of the series 
always lies next below the pair of black keys. Let him 
then, on that series which suits the pitch of his speaking 
voice, severally utter the vowels, and some of their syllabic 
combinations, in unison with the instrumental sounds, both 
in their proximate order, and in the wider transitions of the 
other intervals of the scale, till the whole is familiar to his 
ear, and at the call of his memory. It is true, the Piano- 
Forte can show him only the discrete movements of pitch ; 
but when these are under his command, the concrete, which 
are perhaps the most important in speech, can readily be 
measured by them. But to return to our definitions. 

The sound produced at any of the places of the discrete 
scale, is called a Note. This term note, which signifies the 
continuation of sound on one unvarying line of pitch, is to 
be carefully distinguished from that of Tone. The term tone, 
in this essay, is applied, either to the concrete transit of the 
voice between any two proximate degrees, except those 
which bound a semitone, or to the amount of space between 
such degrees, when the transit is discrete. 

As the term tone is thus used under two conditions, so are 
the terms of other intervals, included between remote de- 
grees: for the voice may move concretely through these in- 
tervals, or notes may be made at these degrees, with the 
omission of the concrete. Let us call the former of these 
conditions, Concrete Intervals, and the latter Discrete Inter- 
vals. 

The first, third and fifth notes of the diatonic scale, to 
which the octave, as a sort of repetition of the first, is usual- 
ly added, differ from the rest, in being more agreeable to 



DIVISIONS AND DEFINITIONS. 53 

the ear when heard in combination, and in immediate succes- 
sion. The degrees, in this order, are also more readily hit by 
an inexperienced voice, in an endeavor to execute the several 
discrete intervals of the scale: and that simple instrument 
called the Jews-harp, together with some of the Horn spe- 
cies, more easily yields these notes under the faltering at- 
tempts of a learner. When therefore the pupil takes his 
lesson on the scale, let him familiarize his ear to the succes- 
sion of the first, third, fifth and octave, omitting the inter- 
mediate degrees. Frequent reference will be made here- 
after, to his perceptions on this point. 

Below, is a representation of the manner in which mu- 
sicians set their symbols for the diatonic sounds, on that 
linear table called the Staff. This staff consists of five ho- 
rizontal parallel lines, having four spaces between them. 
Each space and line represents a degree of the scale : so that 
from space to line, and line to space, when they adjoin, is a 
second : and these degrees are called conjoint or proximate. 
When the discrete movement is over a wider interval than 
a second, it is called a Skip. The succession of the scale is 
here marked by black points, rising from the lowest line to 
the highest space of the staff: the intervals of the semitones 
being designated by a brace. 



n • " 



I have thus endeavored to describe the concrete move- 
ment of sound; and its discrete progression through the dia- 
tonic scale. But the discrete form of pitch appears under 
further subdivisions, which are effected in the following 
manner. 

In any series of seven notes, as the first marked in the 
preceding vertical diagram of the scale, and in that of the 
key-board, let us assume the Fifth, as the first of a new 



54 DIVISIONS AND DEFINITIONS. 

series. This, with its octave, will extend to the place 
numbered twelve. Six of its places in their rising order 
will have right positions; and thus far the intervals of tone 
and semitone will exhibit the proper successions of the dia- 
tonic scale. But the interval between the tenth and eleventh 
is a semitone, and that between the eleventh and twelfth, a 
tone: whereas, by the rule of the scale the order should be 
reversed. For the tenth, eleventh and twelfth, marked in 
the diagrams, are respectively the sixth, seventh and eighth 
of the new series assumed from the fifth. If now the interval 
from eleven to twelve be subdivided into two semitones, as 
shown by a cross in the vertical diagram, and by a star in 
that of the key-board, and if the transit be made from the 
tenth place, to this point of division, two semitones, making 
thus one whole tone, will be passed over ; the interval from 
this point of division to the twelfth will be a semitone, and 
in this way the constituent intervals of the diatonic scale 
will be obtained. 

And further, if we take the fifth above the key-note of this 
new series, or the fourth below it, which are represented 
respectively by the ninth and the second of the diagrams, 
and which are considered the same, because they have the 
like positions of second in the two series, as shown in the 
key-board : then a similar subdivision of the whole tone, 
between the fifteenth and sixteenth, will be necessary, with 
the use of the former subdivision, to construct the scale. 
And thus progressively, by taking the fifth of the last series, 
or the fourth below it, every place of the scale may become 
the first of a series ; and every whole tone may thereby be 
divided, as shown by the black keys in the diagram of the 
key-board. This division produces a series of semitones. 
When therefore the progression is made by them, the order 
of degrees is called the Semitonic, or more commonly the 
Cromatic Scale. 

But it is necessary for my purpose in the future history of 
speech, that the succession of discrete sounds should be 
exhibited under still more reduced divisions. These consist 



DIVISIONS AND DEFINITIONS. 



55 



in a discrete transition from place to place in pitch, over 
intervals much smaller than a semitone : each point being, 
as it were, rapidly touched by a short and abrupt emission 
of voice. This description may be illustrated by the man- 
ner of that noise in the throat which is called gurgling ; and 
by the neighing of a horse. The analogy here regards 
principally the momentary duration, frequency and abrupt- 
ness of sound ; for the gurgling is generally made by a quick 
iteration on one unvarying line of pitch. But in the scale 
now under consideration, each successive pulse of sound is 
taken at a minute discrete interval above the last, till the 
series reaches the octave. We cannot tell the precise extent 
of these small intervals, nor the number of pulses in given 
portions of the scales, since this function is executed in a 
manner, and with a rapidity which prevent discrimination. 
Nor is this point material now. My purpose requires it to 
be known that the voice does rise and fall, with short and 
abrupt iterations through the whole extent of pitch, by steps 
less than a semitone. Whether the discrete space is that 
fractional part of a tone called a comma, or some division or 
multiple of it, we leave to be determined among theorists, 
by other means than that of the ear alone. Let us then call 
this species of movement, the Tremulous Scale. 

I have thus described four modes of the progression of 
pitch : and though in speaking of the concrete, its slide was 
not called a scale, since its unbroken line has no analogy 
with the interrupted steps of a discrete succession : yet with 
a full understanding of its nature, there can be no objection 
to its being so called. 

There are then Four scales of pitch. The Concrete, in 
which, from the outset to the termination of the voice, either 
in rising or falling, there is no appreciable interval, or inter- 
ruption of continuity. 

The Diatonic, in which the discrete transitions are prin- 
cipally by whole tones. 

The Cromatic, consisting of a discrete succession of semi- 
tones: and, 



56 DIVISIONS AND DEFINITIONS. 

The Tremulous, which with its minute intervals, has nev- 
er, as far as I know, been employed upon musical instru- 
ments : the Trill or Shake being, as will be shown hereafter, 
a totally distinct function. 

For the purpose of explanation, the scales have been rep- 
resented separately, though in the practice of the voice they 
are variously united: since speech makes use of them all. 
The concrete is always found: and we shall hereafter learn 
in what manner the diatonic, chromatic and tremulous scales 
are joined with it. 

The term Melody is applied to a regulated vocal or instru- 
mental use of all those modes of pitch which are described 
in the above named scales. The full meaning of the term em- 
braces the further relations of time, rythmus and pause : but I 
here speak of pitch alone. That effect in music called melody 
is produced by a succession of the notes of the scale, in any 
agreeable mode of permutation, of which its seven elements, 
in a proximate or skipping progression, are capable. We 
shall find hereafter that the Melody of Speech, is founded on 
a like principle of varied intervals : whilst it has peculiarities, 
arising from its concrete and tremulous movements, and from 
its not being effected by the doctrine of what in music is 
called Key. 

The term Key is applied to each of the several series of 
the diatonic scale, which may be made upon musical instru- 
ments. And as it appears by the diagram of the key-board, 
that the semitonic divisions of the whole tones of the scale 
make twelve places, from each of which a diatonic succession 
may be arranged, so the scale of the piano-forte admits of 
twelve different keys. The first note of the succession is 
called, as we said formerly, the key-note. The relationship 
of this, to the other notes of the scale is such, that a melody 
will appear unfinished, if its last sound be not the key-note 
of the scale, or the octave to it, which is its nearest concord. 

It is a condition in music, that a melody formed of the 
varied permutations of the notes of any one key, shall not 
employ the constituent notes of another. Thus in the verti- 



DIVISIONS AND DEFINITIONS. 57 

cal diagram, there is a series, with its key-note at number 
one ; and another with its key-note at five. But to form the 
last we found it necessary to divide the tone between the 
eleventh and twelfth points, in order to obtain the final semi- 
tone of the diatonic scale: and it appears that all the notes 
are common to the two series, except the seventh of this last. 
Now a melody or tune begun on the first series, cannot em- 
ploy that seventh and be agreeable to the ear, but with an 
express design to leave the first series, and afterwards to 
carry on the tune altogether by the notes of the last. This 
transition from one series to another is called Modulation, 
or Changing the key. 

Intonation signifies the act of performing the movements 
of pitch through the several scales, in song, and in instru- 
mental execution. It therefore regards merely the changes 
of sound between acuteness and gravity. Intonation is said 
to be correct or true, when the discrete steps or concrete 
slides over the intended interval are made with exactness. 
Deviation from this precision is called singing or playing 
false.* 

The term Cadence means — the consummation of the de- 
sire for a full close in the melody, by the resting of its last 
sound in the key-note. 

I have thus endeavored to prepare the reader for all that 
relates to the science and nomenclature of music, in the fol- 
lowing description of speech. When the analytic principles 



* Instead of the term Intonation, which embraces in music, the doctrine of 
intervals, and their exact execution ; the words Inflection and Modulation have 
been used by writers, to express only a general and obscure perception of some 
variation of pitch, in the speaking voice. So entirely have they seemed to over- 
look the analogy between the scale of music and of speech, that the term intona- 
tion, which has been used in the former art, for at least a century, to denote the 
precise recognition of intervals, is not, with this meaning, to be found, as far as 
I can learn, in any of the numberless books on elocution, which have been pub- 
lished within this period.— I need not say, how often, the description of speech, 
founded on the identity of its intervals with those of music, will hereafter require 
the use of this term. 

S 



58 DIVISIONS AND DEFINITIONS. 

of the voice will have become familiar, through general in- 
struction and practice, the Art of Speaking will seem to 
offer less difficulty, by having an acknowledged system and 
nomenclature of its own. Now we are obliged to study 
another art, in order to make an Art of it. 

In whatever way a pupil may learn, or be taught to recog- 
nize and to execute the intervals of the scale, let me here again 
call his attention to the necessity of making himself familiar 
with the perception of the concrete and discrete movement, 
not only as formed on vowel sounds, by which the scale of 
song is taught, but on syllables, which are the materials of 
intonation in speech. Let the pupil then, on any syllable 
capable of prolongation, rise concretely, from the first degree 
of the scale to the octave; and from this octave immediately 
return to the first degree, whilst its impression remains upon 
the ear. In like manner, let him ascend and descend through 
the concrete fifth, — the third, — the second, — and semitone. 

For acquiring familiarity with the discrete intervals, as 
used in speech, the intonation should be performed by means 
of two syllables. Thus taking the word gaily, let the pupil 
begin at the first degree of the scale, with gai, and by a 
skip, strike the octave with ly: and then, in immediate re- 
turn, whilst the memory of the interval serves him, take gai 
at the octave, and descend to the first on ly. In like man- 
ner, let the voice be exercised on the discrete fifth, — the 
third, — second, — and semitone. 

Facility in executing the chromatic movement of speech, 
is to be attained, by acquiring an accurate perception of the 
semitone, and frequently repeating it, with a plaintive senti- 
ment, on the interjection ah, both in an ascending, and de- 
scending course of the chromatic scale. 

The pupil will acquire a ready command over the tremu- 
lous intonation, by practising the characteristic tremor of 
this scale, through the semitone with a plaintive sentiment, 
and with laughter or sentiments of exultation, through the 
other intervals. 



THE RADICAL AND VANISHING MOVEMENT. 59 

By frequent practice of these several modes of intonation 
on single syllables, the voice will be prepared for the precise 
use of intervals, in the syllabic successions of speech. 

The preceding explanations have been extended rather 
beyond what is absolutely necessary for comprehending the 
proper science of Analytic Elocution, now to be first set 
forth. Thus the nature of Key and Modulation in music, 
has been described, with some care, although speech is not 
constructed upon the principles of either. It was presumed, 
however, that it would not be uninteresting to some inquirers 
to know wherein the differences of the cases consist. 

I feel how perplexing it is, I was about to say, it is impos- 
sible, to render the separated parts of a science, so well 
divided in method yet so closely related in detail, as that of 
music, clearly intelligible. But if what has been said will 
enable the reader to understand the system and particulars 
of the four scales, and to execute them, he will not have 
much difficulty in pursuing our further history of a new and 
beautiful Science of the Human Voice. 






SECTION II. 

Of the Radical and Vanishing movement of the voice, and 
its different forms in Speech, Song and Recitative. 

We have been willing to believe, on faith alone, that na- 
ture is wise in the contrivance of speech. Let us now show, 
by our works of analysis, how she manages the simple ele- 
ments of the voice, in the production of their unbounded 
combinations. 

When the letter a, as heard in the word day, is pronoun- 
ced simply as an alphabetic element, without intensity or 



60 



THE RADICAL AND 



emotion, and as if it were a continuation, not a close of 
utterance, two sounds are heard continuously successive. 
The first has the nominal sound of this letter; and issues 
with a certain degree of fulness. The last is the element e, 
as heard in eve, which gradually diminishes to an attenuated 
close. During the pronunciation, the voice rises by the con- 
crete movement through the interval of a tone or second; 
the beginning of the a and the termination of the e being 
severally the inferior and superior extremes of that tone. 
The nature of this concrete rise may be thus visibly repre- 
sented. 




But as a curvature of lines seems to me to afford a more 
graceful analogy to the peculiar effect of this vocal concrete 
on the ear, it will throughout this work be represented thus: 



/ 



As the description here given, may not in practice, be at 
once recognized by the reader, on account of the limited ex- 
tent of the concrete, its delicate structure, and momentary 
duration, I shall endeavor to throw some particular light of 
explanation upon it. 

That the sound denoted by the letter a, when thus utter- 
ed concretely, has the diphthongal character, will be obvious 
on deliberately drawing out this single element, as if it were 
a question put with great surprise. For in this case it will 
be perceived that its commencement is what I have called 



VANISHING MOVEMENT. 61 

the nominal a; and its termination in e, at a high pitch will 
be no less distinguishable. 

By the same mode of interrogation, the fulness or greater 
volume of sound upon a, and the diminishing close in e, will 
be equally obvious to an attentive ear. And it is not im- 
probable that the feebleness of this last constituent of a, in 
its ordinary pronunciation, is at least one cause that the 
diphthongal structure of this element, has, so far as I know, 
never before been perceived. 

Now, that a, when uttered simply as the head of the 
alphabet, without any striking expression, and as if it were 
a continuation not a close of speech, — does rise through the 
concrete interval of a tone, may be made manifest to the 
reader, by his ability to intonate the diatonic scale. For 
let him ascend discretely by the alternate use of a and e, 
prolonging each as a note, and making a slight pause be- 
tween them. This will render him familiar with the relation- 
ship of the two elements, when heard on the extremes of a 
tone : as illustrated by the following diagram ; where from 



line to line, is one degree, or a tone of the scale ; where the 
oval figure, with its attenuated rising termination, repre- 
sents — the prolonged note, with the faint and rapid concrete 
issue which closes it ; and where the size of the subscribed 
letters represents the proportional duration and volume of 
voice, in the different parts of each impulse of pronuncia- 
tion. 

Then let him ascend the scale by a kind of union of the 
concrete and discrete progressions; that is by beginning 
with a slightly prolonged, and proceeding to e in the second 



62 



THE RADICAL AND 



place, without breaking the continuity of sound, and thence 
after slightly prolonging the e passing concretely to a in the 
third place: as illustrated by the following diagram; where 




E- 



full notes are connected by slender concretes. This prac- 
tice will make him familiar with the effects of a concrete rise 
through a tone, when the upper extreme is rendered remark- 
able, by the stress and prolongation it receives at the second 
place of the scale. 

Supposing then the interval of a tone to be distinguisha- 
ble, when thus uttered with a full volume of sound on the 
two extremes a and e, or with what may be called a double 
stress ; it may be proved, in the following manner, that the 
simple utterance of a in day, passes through the same in- 
terval. — Let the a and e be repeatedly pronounced with this 
double stress, united by the weaker concrete, till the effect 
of the interval, is for the moment impressed upon the ear. 
Then let the stress on e be gradually diminished in the repe- 
tition : as illustrated by the series of symbols in the follow- 
ing diagram. The audible effect, even with this diminution, 



-cCJlXXXII] 

A — E A— e A— e A-e A-e A-e A-e 



will so resemble that of the double stress, that the cases, as 
far as regards intonation, will be admitted as identical. For 
as the interval of a tone is plainly cognizable, when both ex- 



VANISHING MOVEMENT. 63 

tremes receive the stress, so in returning to the simple pro- 
nunciation of a, by omitting the stress at its upper extremity, 
the perception of this interval will be kept up through the 
gradual progress of the change. 

If there should at any time be a doubt as to the extent of 
the concrete interval, let stress be applied at its summit. 
When the interval is a tone, the two sounds will form the 
commencement of the diatonic scale : for with a little expe- 
rience the course of this scale can always be recognized, 
upon the execution of its first and second degrees. 

The diphthongal sound of a does then in this case pass 
through the concrete interval of a tone ; the movement being 
divided between the sounds of a and e, the first gliding im- 
perceptibly into the last. But as the question here refers to 
the extent of the interval traversed, and to its upward direc- 
tion, as well as to its concrete progress, it is necessary to 
guard against the utterance of the literal element with any 
emotion : for if it be done in a plaintive manner, with sur- 
prise, interrogation, or other impressive sentiments, or as if 
it were the close of a sentence, the concrete will be some 
other interval than the tone, or will move in a downward 
direction ; this tone or second, being, as will be shown here- 
after, the instinctive mode of intonation, by which the mind 
denotes its simple thoughts, exclusively of feeling or passion. 

The peculiar structure of this movement suggested the 
division of it, by terms, into two parts ; and the use of this 
division, for explanatory purposes in the following history, 
will show its propriety. 

I have called the first part of the concrete, or that of a, in 
the above instance, the Radical movement ; because, with a 
full beginning or opening, the following portion of the con- 
crete proceeds from it as from a base or root. 

I have called the last part, or that of e, in the exam- 
ple, the Vanishing movement, from its becoming gradually 
weaker as it rises, and finally dying away in the upper 
extreme of the tone. 



64 THE RADICAL AND 

It must strike the reader that these terms can have only a 
general reference to the two extremes of the concrete, since 
the gradual change of the radical into the vanishing move- 
ment, prevents our assigning an exact point of distinction 
between them. 

When a single alphabetic sound, capable of prolongation, 
is uttered with propriety and smoothness, and without emo- 
tion, it commences full and somewhat abruptly, and gra- 
dually decreases in its upward movement, until it becomes 
inaudible ; having the increments of time, and rise, and the 
decrements of fulness, equably progressive. That is, sup- 
posing a gradual diminution of fulness of voice in its gradual 
rise through a tone, to be effected in a given time — one half 
or smaller fraction of that rise and diminution will be accom- 
plished in one half or smaller fraction of that time. Let us 
call this movement the Equable Concrete. 

The varied mode of the vocal function in Song and Re- 
citative, may help to illustrate the nature of this equability 
of the rising movement of speech. 

The long-drawn voice of one continued pitch, which we 
hear in song and recitative, is produced in two ways. 

First; by giving the greatest proportion of time and 
volume to one continuous pitch, or to a level line of sound, 
if I may so call it, in the radical place ; and by subse- 
quently passing concretely, lightly, and rapidly through the 
vanishing portion. Let us call this the Protracted Radical. 

Secondly; by passing concretely, lightly, and rapidly 
through the radical portion, and then prolonging the voice 
with greater volume on a level line at the highest point of 
the vanish. Let us call this the Protracted Vanish. 

Thus far then, intonation exhibits three modifications of 
the radical and vanishing movement. The Equable Con- 
crete of speech: — The Protracted Radical, and the Pro- 
tracted Vanish, both of which are used in Song and Recita- 
tive. But we shall have occasion to learn, as we proceed, 
the various relationships of the concrete, to all the simple 



VANISHING MOVEMENT. 65 

and compounded intervals, to the alphabetic elements, to 
time and to force. 

I have spoken of the radical and vanishing movement 
through a tone, with a view to explain, by that interval, the 
nature of the concrete rise, and its division into the parts 
which have been named. But in taking a wider survey of 
this subject, we shall learn, that this function, with all 
its properties, is performed on every other interval of the 
scale. 

Thus, if we ascend concretely, from the seventh to the 
eighth degree of the scale, by the alternate use of a and e, 
as represented by the first diagram on the sixty-second page, 
that is, by laying a stress on the two extremes of this inter- 
val, the voice will have a plaintive character, very different 
from that of the tone, or interval between the first and 
second. Now the interval from the seventh to the eighth 
place of the diatonic scale, is a semitone. This plaintive 
concrete, therefore, when attenuated, or made what I have 
called equable, by gradually diminishing the stress at its 
upper extreme, as represented in the second diagram on the 
same page, — is the radical and vanishing movement of a 
semitone. 

Again, if we ascend concretely upon a and e, from the 
first to the third place of the scale, by laying a stress on e, 
in that third place ; the effect of this continuous movement 
will differ from that of the tone and of the semitone ; for it 
will resemble a moderate degree of interrogation made on 
the element a. This concrete when attenuated, or made 
equable, by diminishing the stress at its upper extreme, — is 
the radical and vanishing movement of a third. 

By a process analogous to that just proposed, for distin- 
guishing the interval of a third, we may ascertain the con- 
crete movement of a fifth, and of an octave : For these, with 
stress at their upper extremes, have an interrogative expres- 
sion like that of the third ; but each successively more em- 
phatic or earnest in its degree ; and then by diminishing the 
stress, as directed in the former cases, we have, respectively, 
9 



66 THE RADICAL AND 

the radical and vanishing movements of the fifth and the 
octave. 

In this manner then, the ear perceives, under their various 
degrees and characteristics, the several vocal movements of 
a Rising radical and vanishing semitone, — of a tone or 
second, — of a major and a minor third, — of a fifth, — and of 
an octave. But these intervals have their proper significa- 
tions in the expression of speech, and will be particularly- 
noticed elsewhere. 

I say nothing here of a radical and vanishing fourth, — 
sixth, — and seventh; nor of higher ranges than the octave; 
not because the voice does not perform these intervals, but 
because a reference to the above named points, is sufficiently 
precise for the purposes of our history. 

Let us consider another condition of the radical and vanish- 
ing movement. We have viewed the concrete of the voice 
only in its rising progress. There is a similar glide in a 
downward direction through all the intervals of the scale. 
To illustrate this subject, as regards the speaking voice, we 
must consider that the scale is designated numerically, in its 
dow T nward, as in its upward progression : the like number 
of degrees constituting intervals of the same name, in either 
direction of pitch. To express this descending relationship, 
music employs the terms — a second, — a third, — a fifth, — and 
an octave, below : whereas for the intonations of speech, I 
shall use the adjective-term downward, or descending, or 
falling, to denote this direction of the scale. Referring to 
the mode of illustration formerly proposed, if the bow be 
drawn whilst the finger is moving continuously from the 
eighth place on the string to the first, it will produce the 
concrete descending sound of the octave. And in like man- 
ner, by taking other parts of the scale as the commencement 
of a descending course, all the other downward intervals 
may be made. Now, in order to exemplify this on the voice, 
we must suppose the descent to be made by stress applied 
at the extremes of the several intervals, in order to render 
them perceptible ; as illustrated by the first diagram, on the 



VANISHING MOVEMENT. 67 

sixty-second page, representing the rising progression. Then 
taking alternately a and e for a descent, and beginning with 
a in the octave, the concrete transit through e to the seventh 
will be the downward concrete semitone. 

Having, in the same manner, made the concrete transition 
from the second to the first degree, with the stress on the e, 
in its lower extreme, in order to make its effect obvious to 
the ear ; then in imitation of this effect, and omitting the 
stress, if the concrete a be uttered without emotion, and with 
a complete fall of the voice, as if it were the close of a sen- 
tence, the downward concrete tone will be heard on a, with 
all the properties which belong to the radical and vanishing 
movement, in the rising direction : with this difference, that 
the fulness of the radical, if it may now be so called, is at 
the summit of the tone ; whilst the vanish equably diminishes 
to the lower extreme of this interval ; the e faintly ending 
there. And in this way, by executing the downward con- 
crete, from the third, and fifth, and eighth degree of the scale 
respectively to the first, without its terminative stress, we 
shall' have the downward radical and vanishing third, — and 
fifth, — and octave. 

The downward movement is likewise made in the discrete 
progression. This may be readily shown on the Piano, or 
other instruments with a scale of fixed degrees, by sounding 
in succession the extreme notes of the required interval : and 
on the voice, by a unison imitation of these instrumental 
sounds, upon vowels or syllables ; thereby proving the ex- 
istence of a downward discrete octave, — fifth, — third, — 
second, — and semitone. 

He who is acquainted with the musical scale, but who has 
not yet looked upon it in reference to speech, may ascertain 
the upward intonation of the tone and of the semitone, when 
made on a vowel sound, by comparing their effect with that 
of the beginning and of the end of the rising scale. And in 
like manner, he may know the downward course of the semi- 
tone and of the tone, by comparing them respectively with 
the beginning and with the end of the descending scale. 



68 THE RADICAL AND 

Every one knows a plaintive expression in speech: therefore 
it is easy to recognize a semitone. And I have full confidence 
in asserting, that before the attentive and qualified reader has 
finished this essay, he will have no more difficulty in dis- 
criminating every other important interval of the rising and 
falling movement. 

In describing the rising radical and vanish of a tone, I 
contradistinguished the equable concrete of speech, from the 
protracted radical and the protracted vanish of that same 
interval. But it will be shown hereafter, that Song employs 
a similar mode of intonation on wider intervals : that is, the 
protracted radical and protracted vanish, are used in con- 
tinuation with a following or a preceding concrete of wider 
rising intervals; and the like protracted notes are joined 
respectively to the summit and to the foot of the wider con- 
cretes in a downward direction. 

As the concrete rise of the voice is perhaps more gene- 
rally used in speech, than the downward course, I may in 
noticing intervals, frequently employ the terms radical and 
vanishing movement, without specifying its rise, to signify 
the former ; and shall particularize the latter, by annexing 
the term of its direction. In designating the concrete func- 
tion, I shall variously denominate it, the radical and vanish- 
ing movement, the concrete progression, — interval, — or 
pitch ; or simply the radical and vanish, — or the concrete ; 
or the radical and vanishing tone, — semitone, — third, — 
fifth, — and octave, according to the general or specific in- 
tention. The discrete ascent and descent will be called — 
the discrete movement, or progression, or pitch, — or the 
radical change, — or skip, — or pitch. 

I have thus endeavored to describe one of the most im- 
portant functions of speech. There is a peculiarity in the 
intonation of the human voice, which has never been copied 
by instrumental contrivance. The sounds of the horn, flute, 
reed, and musical glass, may each equal and even surpass in 
quality a long-drawn vocal note ; but there is still something 
absent, that designates them as instruments. It is the want 



VANISHING MOVEMENT. 



69 



of the gliding concrete, the lessening volume, and the soft 
extinction of the yet inimitable vanishing movement. 

An illustration by the following diagram may, perhaps, 
facilitate the comprehension of the foregoing descriptions. 
For this purpose, certain parts of the musical notation are 
employed. The lines and spaces denote places of pitch ; the 
proximate succession of line and space being that of a second 
or tone. These lines and spaces differ from the staff of the 
musical system : the latter being founded on the diatonic 
scale, denotes, in certain places, the interval of a semitone ; 



£ hD4> 

o c a 

<5' cH 



c* 



» £ 2 

*■> a 5 

° 2 



O ^ 



-2 £^ 
OQ 



2=cS 



« 



04" 



n £3 

or 






© etf . 
© £-d 

o o ^ 

OQ 



5 a 2 



© ^ a? 

* * s 

III 

OQ 



^p fp 



whereas the lines and spaces of the notation for speech 
signify always, the succession of a tone, except when other- 
wise specified. The full black marks on these lines and 
spaces, with their issuing and tapering appendages of various 
extent, represent the opening fulness, direction, interval and 
diminution of the radical and vanishing movement. The 
whole of this notation being mere metaphor, there is no 
meaning in the curve given to the sign of the vanish. In 
that, as formerly remarked, the eye only has been consulted. 
Time is here represented as in music : the open ellipse signi- 
fying the longest ; the black head with a stem, the fourth of 
it ; this head with its stem marked at the extremity by one 
and two hooks, each successively the eighth and sixteenth 



70 ALPHABETIC ELEMENTS. 

of the open ellipse. — Except for the prolonged radical and 
vanish, it is not my intention to use the notation of time, in 
this essay. The subject has been well analyzed, and clearly 
arranged in music ; and the application of its well contrived 
symbols to speech, when desirable, will not require much 
ingenuity or labor. 

I have not here represented either the minor third or the 
semitone, since their modes of delineation may be easily 
understood from the picture of the other intervals. 

The reader must not be discouraged by the seeming diffi- 
culty of the foregoing distinctions. I have here laid down, as 
a course of instruction, the very train by which these phe- 
nomena were discovered. They were not seen at a glance. 
The first views were full of indistinctness and doubt, greater 
perhaps than a quick student may experience from the de- 
scriptions in this section: yet I can declare that now, after 
three years, the functions here explained, are much more per- 
ceptible to me, than the varieties of color without direct com- 
parison; and quite as distinct as the literal and syllabic 
sounds of discourse. 






SECTION III. 

Of the Elementary Sounds of the English Language ; 

with their Relations to the Radical and 

Vanishing Movement. 

The radical and vanishing concrete, under all its forms, 
is employed on a limited number of elementary sounds, 
which in the English language amount to thirty-five. It is 
useless to make a question, on the subject of the kind and 
number of the elements. There will perhaps always be 



ALPHABETIC ELEMENTS. 71 

refinements and differences on this point. The thirty-five 
here assumed, afford all the distinctions required for the 
purposes of this work.* 

An alphabet should consist of a separate symbol for every 
elementary sound. Under this view, the deficiencies, re- 
dundancies, and confusion of the system of alphabetic char- 
acters in the English language, prevent the adoption of its 
subdivisions here. 

The alphabetic elements are the material, and in part the 
formal causes of all language. It appears to me therefore 
that a classification of them, according to their functions in 
producing other phenomena of speech, besides that of mere 
articulation, would be practically useful as well as logically 
just. It will not be denied that intonation is one of the most 
important functions of speech: consequently the ordering of 
the elements if practically regarded, should have some refer- 
ence to it. In the present section therefore, these elements 
will be described and classed according to their use in into- 
nation.f 



* English philologists have, according to their real or affected nicety of ear, dif- 
fered on the subject of the number of the elements of their language. The dif- 
ferences refer to the character of the sounds, or to the time, or the manner of 
pronouncing them. Thus the sound of a in all, and of o in occupy have been 
enumerated as different. But chat difference seems to consist in the abrupt utter- 
ance of oc, that is, the suddenness with which the sound breaks from the organs. 
A like distinction has been made between o in ooze, and u in bull : where the 
explosive utterance seems to make the perceptible difference of the short vowel. 
Now this abruptness of voice, is a generic function, applicable to all vowels, and 
therefore not a ground for distinction with any. 

1 1 set aside, in this place at least, the sacred division into vowels, consonants, 
mutes and semivowels. The complete history of nature will consist of a full de- 
scription of all the relationships of things. We received the classification of the 
alphabet from Greek and Roman grammarians : and their division, according to 
organic causes, into labial, lingual, dental and nasal elements, is to be regarded 
as a legitimate part of that history. But whatever motive, connected with the 
vocal habits of another nation, or the etymologies of another tongue, may have 
justified the division into vowels and consonants, it does not exist with us. With- 
out designing to overlook or destroy any arrangement which truly represents the 
relationships of these sounds, it is only intended in this essay to add to their his- 
tory, a classification grounded on their important functions in speech. The strict- 



72 ALPHABETIC ELEMENTS. 

As the number of elementary sounds in the English lan- 
guage exceeds the literal signs, some of the letters are made 
to represent various sounds, without a rule for discrimi- 
nation. I shall endeavor to supply this want of precision 
by using short words of known pronunciation, containing the 
elementary sounds, with the letters which represent them 
marked in italics. 

The thirty-five Elements are now to be considered under 
their relationships to the radical and vanishing movement. 
And as the properties of this function are — prolongation of 
sound, variation of pitch, with initial force and final feeble- 
ness ; these elements should be regarded in their varied ca- 
pacity for the display of these properties. 

With this view, our elements of articulation may be ar- 
ranged under three general heads. 

The first division embraces those sounds which exhibit the 
properties of the radical and vanish in the most perfect 
manner. They are twelve in number ; and are heard in the 
usual sound of the separated italics, in the following words : 

-4-11, a-rt, a-n, a-le, o^-r, isle, o-ld, ee-1, oo-ze, e-rr, 
e-nd, and i-n. 



ness of philosophy should not be so far forgotten, as to suffer the claim of this 
classification to be exclusive. Let it remain as a constituent portion only of new 
and wider prospects, yet to be opened in the art. 

Passing by other assailable points of our immemorial system, the distinction, 
implied by its two leading heads, is a misrepresentation. Had he an ear who 
said — a consonant cannot be sounded without the help of a vowel ? 

Among the thousand mismanagements of literary instruction, there is at the 
outset in the hom-book, a pretence to represent elementary sounds, by syllables 
composed of two or more elements, as : Be, Kay, Zed, double U, and Aitch. 
These words are used in infancy, and through life, as simple elements in the pro- 
cess of synthetic spelling. But no error or oversight of the school should ever 
make us forget the realities of nature. 

Any pronouncing-dictionary shows that consonants alone may form syllables ; 
and if they never have been appropriated to words which might stand solitary 
in a sentence like the vowels a, i, o, ah } and awe — it is not because they cannot 
be so used ; but because they have not that full and manageable nature which 
exhibits the functions of the unconnected syllable with sufficient emphasis, and 
with agreeable effect. 



ALPHABETIC ELEMEJNTS. 73 

From their forming the purest and most plastic material 
of intonation, I have called them Tonic sounds. 

They consist of different sorts of Vocality; by which I 
mean that quality of voice in which we usually speak, and 
which is here contradistinguished from the whisper or aspi- 
ration. They are produced by the joint functions of the 
larynx and parts of the internal and external mouth, through 
which the air passes in their formation. 

The tonics have a more musical quality than the other 
elements; they are capable of indefinite prolongation; admit 
of the concrete and tremulous rise and fall through all the 
intervals of pitch; and may be uttered more forcibly than 
the other elementary sounds, as well as with more abrupt- 
ness: and whilst these two last characteristics are appro- 
priate to the natural fulness and stress of the radical, the 
power of prolongation, upon their pure and musical quality, 
is finely accommodated to the delicate structure of the 
vanishing movement. 

The next division includes a number of sounds, possessing 
variously among themselves properties analogous to those of 
the tonics; but differing in degree. They amount to four- 
teen; and are marked by the separated italics, in the follow- 
ing words: 

l?-ow, d-are, g*-ive, v-ile, z-one, y-e, w-o, th-en, 
a-z-ure, s\-ng, Z-ove, ra-ay, n-ot, r-oe. 

From their inferiority to the tonics, in all the emphatic 
and elegant purposes of speech, whilst they admit of being 
intonated or carried concretely through the intervals of 
pitch, I have called them Subtonic sounds. 

They all have a vocality; but in some it is combined with 

an aspiration. B, d, g, ng, I, m, n, r, have an unmixed 

vocality; v, z, y, w, th, zh, have an aspiration joined with 

theirs. We have learned that the vocality of the tonics is, 

in each, peculiar. The velocity of some of the subtonics is 

apparently the same; and among all, it does not differ much; 

resembling that of certain five of the tonics, which will be 

designated presently. Like the vocality of the tonics, it is 
10 



74 ALPHABETIC ELEMENTS. 

formed in the larynx: but instead of passing altogether 
through the mouth, it has its reverberation in the back of 
the mouth, and the cavities of the nose. Some of the sub- 
tonic vocalities are purely nasal, as: m, n, ng, b, d, g. The 
rest are partly oral. The nasal are soon silenced by closing 
the nostrils: the rest are not materially affected by it. The 
vocality of b, d and g may not be immediately apparent to 
those who have not, by practice* in the separate utterance of 
the elements, attained the full command of pronunciation. 
Writers, in noticing these elements, have spoken of their 
vocality under the name of 'gutteral murmur,' and have re- 
garded it as a peculiar sound; whereas it is the identical 
vocality, heard in v, th-en, z, zh, and r, subsequently modi- 
fied into the respective articulations of b, d and g. The vo- 
cality of b, d and g, in ordinary speech, has less duration 
and intensity, and is consequently less perceptible than that 
of v, th-en, z, zh and r, but it is the same in kind. It is the 
vocality alone of b that distinguishes it from p. 

I have enumerated y and w as the initial sounds of ye 
and ivo, because y is a vocality, like that of the other sub- 
tonics, mixed with an aspiration made over the tongue, when 
raised near the roof of the mouth: and because w is a similar 
vocality mixed with a breathing through an aperture in the 
protruded lips. As b, d, g and zh are made by joining vo- 
calities, instead of aspirations, with the organic positions of 
p, t, k and sh; so y and w are severally the mixture of vo- 
cality with the pure aspiration of h as heard in he, and of 
wh as heard in ioh-\r\'d. The addition to the aspiration 
changes these words respectively to ye and world. 

This vocality of the subtonics, whether pure or mixed, 
nasal or oral, is variously modified by the nose, tongue, teeth 
and lips. For, an entire or partial obstruction of the current 
of breath through the mouth, and a subsequent removal of 
the obstruction, produces the peculiar sound of the subtonics. 
Now it is in the portion of the subtonic sound, heard after 
the restoration of the free passage through the mouth, that 
the character of the vocality, in some of these elements, may 



ALPHABETIC ELEMENTS. 75 

be most easily perceived. This vocula or little voice, if it 
may be so called, is mentioned by writers as being necessary 
to complete the utterance of the class of mutes, so named: 
but it may be heard more or less conspicuously at the ter- 
mination of all the subtonics. It is least perceptible in those 
which have the most aspiration. In ordinary utterance it is 
short and feeble; and is most obvious when employed in 
forcible or affected pronunciation. When the subtonics pre- 
cede the tonics, they lose this short and feeble termination, 
and takes in its place the full sound of the succeeding tonic, 
thus producing an abrupt opening of the tonic. 

I have called this last-vented sound of the subtonics, the 
Vocule ; and have been thus particular in noticing and 
naming it, as both the function and the term will be referred 
to, in treating of Expression. 

The five tonic, sounds to which the vocalities of the sub- 
tonics bear a resemblance, are ee-\, oo-ze, e-rr, e-nd, i-n. Y-e 
and w-o have respectively something like a nasal echo of ee-1 
and oo-ze. B, d, g, v, th-en, z, zh and r resemble e-rr; 7, 
wi,and n have something of the sound of e-nd ; and ng, of i-n. 

I said the subtonics are subordinate to the tonics in their 
properties and uses. The kind of sound is less agreeable. 
Compared with the clearness and brilliancy of the tonics, 
their quality is obscured in the purest of them, and in some 
it is destroyed, by the aspiration. They are severally capa- 
ble of more or less prolongation, and may be carried through 
the concrete and tremulous variation of pitch. None admit 
of much force in their vocality ; nor can abruptness be given 
to them without extraordinary effort. Now these last named 
insufficiences prevent the subtonics from forming, like the 
tonics, the proper radical movement: the characteristic of 
which consists in its opening full and abruptly. When there- 
fore a subtonic precedes a tonic, as in the syllable vain, the 
vocality of v compared with that of a, is so feeble, that 
upon a common effort of utterance, there is an absence of 
the strong and sudden opening of the radical. The subtonic 
does indeed make part of the syllable, but to whatever de- 



76 ALPHABETIC ELEMENTS. 

gree it may be prolonged, it still continues on one line of 
pitch until the tonic a opens and rises with the true charac- 
ter of the radical. It is not from this, to be concluded that 
the subtonics can in no wise form radicals, for all of them, 
when separately uttered, may be carried by the concrete 
movement, through every interval; and even in conjunction 
with tonics, a strenuous effort may give them somewhat of 
the radical abruptness. Eut in ordinary pronunciation, they 
are scarcely appreciated as a part of the initial concrete. 

This want of force and abruptness in a subtonic does not 
prevent it from fulfilling the purpose of the vanish, when it 
succeeds a tonic. Thus in the syllable vain, the a, as we 
have said, begins the radical, and after rising through a por- 
tion of the interval, glides into the subtonic n, which carries 
on and completes the vanish. 

The remaining nine elements are Aspirations, and have not 
that sort of sound which we have called vocality. They are 
produced by a current of the whispering breath through cer- 
tain positions of the internal and external parts of the mouth. 
They are heard in the words, 

TJ-p, ou-t, ar-&, \-f, yes, h-e, w^-eat, th-'m, push. 

From their limited power of variation in pitch, even when 
uttered singly, with the designed effort to produce it; and 
from their supplying no part of the concrete when breathed 
among the constituents of syllables, I have called them Atonic 
sounds. 

If any one will take the trouble to compare the mode of 
their production with that of some of the subtonics, he will 
find them respectively identical in all their accidents, except 
that of vocality, which is wanting in the atonies. — 

B. D. G. V. Z. Y. W. Th. Zh. Ng. L. M. N. R. 

I I I I I I I II 
P. T. K. F. S. H. Wh. Th. Sh. 

This whispering imitation is not made on all the subto- 
nics. Yet the five exceptions do not altogether destroy the 
idea, that nature has her * formative effort' towards a general 



ALPHABETIC ELEMENTS. 77 

rule of duplicature in these creations. The m, n, and ng 
are purely nasal, and when their vocality is dropped, the 
attempt to utter them, by the mere breathing of the atonies, 
produces in each case similar snuffling aspirations. Yet 
even this snuffling, though no reputed element of speech, is 
constantly used before the vocality of n or m or ng, as the 
inarticulate symbol of a sneer. The two remaining subto- 
nics I and r, in perfect English speech, are unmatched by 
atonies. But the aspirated copy of 7, produced by a kind of 
hissing over the moisture of the tongue, is not a very un- 
common deformity of utterance : and a true atonic parallel 
to r, heard in what is called ' the burr,' is perhaps a still 
more prevalent defect of utterance.* 

The atonies, from the deficiency which suggested their 
name, afford no basis for the function of the radical and 
vanish. Most of them have a perceptible vocule, which con- 
sists in a short aspiration like the whispering of e-rr. There 
is- no musical quality in their sound. They do furnish Time 
or the power of prolongation to speech, but on a wretched 
material. Though inferior in most of their properties to the 
other elements, yet it shall be shown in treating of the ex- 
pression of speech, that the Aspiration is both significative, 
and emphatic. 

The enumeration made under the preceding divisions, 
includes all the elementary sounds of the English language, 
which, apart from questionable and unimportant points, have 
been noticed by observant authors. 

There are three of the subtonics and three of the ato- 
nies, — b, d, g, p, t, and k, that have eminently an explosive 
character ; the breath bursting out after a complete occlu- 
sion. 

From their serving peculiar purposes in speech, they may 
be distinguished as a subdivision, and called Abrupt ele- 
ments. 

* Bishop Wilkins, in his ' Essay towards a real character,' has enumerated 
the aspirated I and r among the provincial vices of speech, and has allotted literal 
symbols to them. 



78 ALPHABETIC ELEMENTS. 

In the beginning of a syllable, they produce a sudden 
opening of the succeeding sound ; and at the end, they ex- 
hibit their final vocule. The office of these abrupt elements, 
in the art of speaking, will be shown in treating of ex- 
pression. 

The foregoing arrangement of elementary sounds was de- 
vised to display their relationships to intonation. For a 
closer view of this subject, I shall describe particularly the 
structure and functions of the Tonics. This detail was 
separated from the general view, in order to avoid distract- 
ing the reader's attention from the drift of that classification, 
by the interesting development which has been deferred to 
this place. 

In illustrating the nature of the radical and vanishing 
movement, by the tonic a-le, it was stated that this element 
consists of two sorts of sound, and that when uttered with 
inexpressive effort, the voice rises through the interval of a 
tone; the radical beginning on a, and the vanish diminish- 
ing to a close on e. Now as all the tonic sounds necessarily 
pass through the radical and vanish, they demand an analy- 
sis relatively to that concrete function of pitch. 

These seven of the tonic elements, 

a-we, a-rt, a-n, <z-le, z-sle, o-ld, ou-r, 
have different sounds for the two extremes of their concrete 
movement. 

The remaining five, 

ee-1, oo-ze, e-rr, e-nd, i-n, 

have each, one unaltered sound throughout their concrete 
movement. 

The tonics may therefore be properly divided into Diph- 
thongs and Monothongs. 

A- we has for his radical, the sound of a in a-we: and for 
its vanish, a short and obscure sound of the monothong e-rr. 

.A-rt has for its radical the sound of a in a-rt : its vanish 
like that of the preceding, being the short and obscure sound 
of e-rr. 



ALPHABETIC ELEMENTS. 79 

The radical of a-n is the sound of a in a-n. Its vanish 
is the same in degree and sort with the last. 

The sound of each of these elements has heretofore been 
considered as homogeneous throughout: for their vanish 
being very faint in ordinary utterance, it has escaped per- 
ception. But it may be heard by using these elements 
severally, with earnest interrogation. They will each ter- 
minate at a high pitch, in a feeble sound of e-rr. 

A-\e, as said formerly, has its radical, with the distinct 
sound of the monothong ee-l for its vanishing movement. 

7-sle has its radical, followed in like manner by a vanish 
of the monothong ee-l. The diphthongal nature of i, has 
long been known, and the discovery of it is attributed to 
Wallis, the grammarian. It is described by Sheridan 
and others, as consisting of a-we and ee-l : the coalescence 
of the two producing the peculiar sound of i. In this ac- 
count, it is admitted that the element is peculiar; one can 
therefore see no need of reference to a-we, in the theory of 
its causation. A skilful ear will readily perceive that the 
radical of isle is a peculiar tonic, and will so report there- 
on, without having recourse to any supposition, as to its 
changes from a previous sound. 

0-ld has its radical in the sound of 0, formerly supposed 
to be homogeneous. Its vanish is the distinctly audible 
sound of the monothong oo-ze. 

Ou-r has a radical, followed in like manner by a vanish 
of the monothong oo-ze. That the first sound of this diph- 
thongal tonic is not a-we, but a radical of its own, may 
easily be proved by a discriminating ear : and a trial with 
the voice will show, that G-we does not unite with oo-ze, by 
that easy gliding transition which is heard in the junction of 
the true radical of ou-r with the same oo-ze. 

I have been at a loss what to say of that sound which is 
signified by oi and oy, as in voice and boy. It may be 
looked upon as a diphthongal tonic, consisting of the radical 
fl-we, and of the vanishing monothong i-n, when the quan- 
tity of the element is short, and of ee-l when long. But 



80 ALPHABETIC ELEMENTS. 

from the habit of the voice, it is difficult to give c-we with- 
out adding its usual vanish of e-rr ; and this makes the com- 
pound, a triphthong. If it is taken as a diphthongal tonic, 
this is the only instance in which the same radical has two 
different vanishes. And though this reason should not be 
conclusive against its classification, it suggests an examina- 
tion of the subject. In case this sound should be considered 
as a true diphthongal tonic, and analogies seem in favor of 
it, it would make the number of tonics thirteen, and the 
whole of the elements thirty-six. 

The seven radical sounds with their vanishes, which have 
been described, include, as far as I perceive, all the ele- 
mentary diphthongs of the English language. The term 
diphthong, denotes the transition of the voice from one tonic 
sound to another ; forming thus the impulse of one syllable, 
by a continuous gliding, without a perceptible change of 
organic effort, in the transition. By the term elementary, as 
qualifying a diphthong, I mean to point out the inseparable 
bond of its constituents ; the nature or the habit, whichever 
it may be, of the voice having so decreed the series of the 
two sounds, that the first or radical cannot, in unpremedi- 
tated utterance, be given without terminating in the second 
or vanish. 

The remaining five tonics are monothongs, and have one 
sort of sound for both the radical and vanishing movement. 
They are 

oo-ze, ee-1, e-rr, e-nd, i-n. 

When the element ee-1 is deliberately uttered, in the mode 
of asking a question with earnest surprise, one unvaried 
sound of ee-1, is heard, rising from the radical outset, to the 
top of the vanish. This concrete rise in interrogation will 
be described hereafter, as being the interval of a radical and 
vanishing octave; but the same homogeneous course of ee-I 
may be heard through the fifth, third, tone and semitone. 
This mode of displaying the course of the unchanged con- 
crete in ee-l, will show an analogous result in the cases of 
the four other monothongal tonics. Whereas if the diph- 



ALPHABETIC ELEMENTS. 81 

thongal tonics are uttered with the interrogative intonation, 
the difference between their radical and vanishing portions 
is at once perceptible. 

The nature of the tonics, as here described, may be other- 
wise plainly shown. We learned in the last section, the 
distinction between the equable concrete of speech, and the 
protracted radical and protracted vanish, of song and re- 
citative. Now the use of these protracted forms of into- 
nation will exhibit the structure of the tonic elements. For 
an attentive ear may perceive, when the diphthongs are sung 
with a protracted vanish, that the voice quickly leaves the 
radical, and dwells in continuation on the different sound of 
the vanish. The protracted note, in the vanish of the mono- 
thongs, will be the same in sound as their radicals. The 
words of an ordinary melody in slow time, or any church 
psalm, will afford proof on this point. 

Another mode of illustrating the real diphthongal character 
of seven of the tonics, may be drawn from the phenomena 
of rhyme. Rhyme is that peculiar relationship in the sound 
of syllables, which consists in a difference between the first 
sound of each of the compared syllables, and an identity 
between all the subsequent sounds, each to each: the agree- 
able effect of rhyme depending chiefly on the particular re- 
lation between the tonic sounds. The first condition is that 
of identity in the tonics, as: dame, came. — The second de- 
gree of relationship is made by tonics which have a different 
radical, but the same vanishing movement, as: cars, wars. — 
The third consists of those tonics that differ both in their 
radicals and vanishes, yet are of nearest resemblance in their 
sort of sound, as : good, blood. 

The use of the second kind of rhyme shows the composi- 
tion of the diphthongal tonics. In the following lines, the 
correspondence of oo-ze in doom with o-ld in home, and 
of fl-le in obey with ee-\ in tea, is admitted as canonical, 
from the identity of the vanishes of a-\e and o-ld, respec- 
tively with the monothongs eeA and oo-ze. 
11 



82 ALPHABETIC ELEMENTS. 

Here Britain's statesmen oft the fall foredoom 
Of foreign tyrants, and of nymphs at home ; 
Here thou, great Anna ! whom three realms obey, 
Dost sometimes counsel take — and sometimes tea. 

The assimilation of the sounds of a-le and ee-1, by the 
identity of their vanishes, produces the monotony of the four 
following lines. 

Swift to the Lock a thousand sprites repair, 
A thousand wings, by turns, blow back the hair ; 
And thrice they twitch'd the diamond in her ear; 
Thrice she looked back, and thrice the foe drew near, 

Besides the differences arising from singleness of sound, 
and diphthongal combination, the tonics exhibit a variety in 
time, both when uttered separately, and in syllabic associa- 
tion. Two general divisions may be made. 

-4.-we, a-rt, a-n, a-le, ee-1, z-sle, o-ur, oo-ze 
may be called long tonics: and 

e-rr, e-nd, i-n, 
short. It is not to be understood that the latter may not, 
by designed effort, be made as long as the former: they have 
their places in this arrangement, from their usual time in 
English syllables. In the prolongation of i-n, it changes 
nearly, if not entirely, into ee-1 : and as it thus seems to owe 
its character, in short pronunciation, to its abruptness, it 
might be merged in ee-1, and rejected as a distinct element. 
When the long tonics are combined with other elements into 
syllables, their time is of every distinguishable degree, from 
a momentary impulse, to the longest passionate utterance of 

an interjection, as : from o-tt to a- we from ou-t to 

h-ow from a-t to a-h! a-te to h-ay p-ea-t to 

ee-1 f-oo-t to oo-ze c-a-rt to fl-rms k-i-te to i-sle. 

The time of the short tonics, in combination, has much less 
variety. But however short any of the tonics may be, they 
do in their minimum duration still pass through the concrete 
movement, as will be shown hereafter. 



ALPHABETIC ELEMENTS. 83 

All the elements, except the abrupt atonies k, p f t, have a 
variety in duration. The vocality of the subtonics affords 
the means of their time, and its prolongation is next in im- 
portance to that of the tonics, for the purposes of vivid and 
graceful expression. 

Should it be asked, why the diphthongs are here designated 
as elementary, when each may be resolved into greater sim- 
plicity; it may be answered, that the diphthongs, though 
compounded of the successive sounds, are inseparable in ut- 
terance : and regarding elements as simple efforts of the voice, 
these diphthongs may be ranked among them. I cannot pro- 
nounce the radical of a diphthong without in some sort, giving 
also its vanish. The radical may indeed be indefinitely sus- 
tained on its level line of pitch, and we may attempt to cut it 
off by a sudden occlusion of the voice ; but it can be termi- 
nated only by a glide through the vanish, which, however 
quick, or feeble, or varied by aspiration or otherwise, from its 
exact sound, may still be heard. In the equable concrete 
of speech, the rapid pronunciation of a diphthong may dimi- 
nish the audibility of its second sound, but to an attentive 
ear it will not be altogether lost. And further, not only 
does the radical of a diphthong demand its own peculiar 
vanish, but it cannot itself be carried through a given inter- 
val without sliding into that vanish. For when we attempt 
to lead the voice through an octave on the diphthong a-we 
or <z-le, its radical may be continued up to the seventh of 
the scale : still the final close on the eighth will unavoidably 
turn respectively to e-rr or ee-\. A similar change will take 
place on all smaller intervals, in an endeavor to make 
monothongs of the diphthongal radicals. 

If an elementary character be denied to the diphthongs, 
by regarding them as separable sounds, it will not increase 
the number of simple tonics beyond twelve : for the reader 
may have already remarked that the vanishing portions of 
the diphthongs consist exclusively of the monothongs. 

It follows, from what has been said on the indivisible na- 
ture of the diphthongs, that their radicals cannot be united 



84 ALPHABETIC ELEMENTS. 

with any other vanishes, than those apparently allotted in 
the instinctive ordination of the voice: and notwithstanding 
what has been observed, assumed and transcribed by writers, 
on the subject of the diphthongal union of the vowels, the 
instances here enumerated, appear to be all that belong to 
English speech. Every attempt to make further combina- 
tions produces a voice which wants the smooth transition 
and singleness of syllabic impulse, that characterizes a diph- 
thong, and which is found with its defined perfection, only 
in the double sound of the above named seven elementary 
tonics. 

As the diphthongal tonics are respectively produced by 
joining a monothong to a radical of a different sound, and 
as all the possible permutations of their union are not em- 
ployed, it is a curious subject of inquiry, — whether it is 
within the power of the vocal organs to make a greater 
number of diphthongs than are here enumerated, by uniting, 
severally, every monothong with each radical tonic. Now 
as there are seven radicals and five monothongs, we might 
upon this scheme have thirty-five diphthongs. But it ap- 
pears we have only eight, supposing oi to be included : 
fl-we being severally combinable with two monothongs, and 
each of the others with one. Other conjunctions may be 
made ; but they have not a fluent transition, like those which 
already belong to the language and have their literal signs. 
Would these new associations require a management of 
voice which is not altogether instinctive, and might there- 
fore call for a practice and skill not yet reached by the En- 
glish tongue? Have any of these supposed diphthongs been 
admitted among the alphabetic elements of other nations ? 
And are these unused materials of speech to be classed with 
those resources in the animal economy, which are to afford 
their benefits under higher cultivation, and the widening 
demands of human improvement? 

In elucidating this subject of the tonics, it is worthy of re- 
mark, that we may consider the diphthongs as mere syllables, 
compounded of a tonic and subtonic. For it is certain that 



THE NATURE OF SYLLABICATION 85 

the monothongs, when used as vanishes to the radical tonics, 
have in some degree the character of subtonics: that is, they 
lose the fulness of the radical opening which they have, 
when uttered by themselves. The vanish of a-\e is very 
nearly allied to y-e if not identical with it; and the vanish 
of ou-v bears as near a relation to w-o. It will be evident 
too on trial, that if a radical character be given to these 
vanishes, they will not unite with the previous radical into 
one impulse of the voice. 

It was said, in a former part of this section, that the sub- 
tonics may be uttered separately:, their own obscure vocali- 
ties bearing, respectively, some resemblance to those of the 
five monothongs. Hence it is, that some syllables may be 
formed exclusively of subtonics. In the words bidden, fic- 
kle, schism, rythm, riven, and their congeners, the last syl- 
lable is either purely subtonic, or a combination of subtonic 
and atonic. On these final syllables the radical and vanish- 
ing movement is performed : and though they exhibit the 
concrete function, they betray their inferiority in abruptness, 
force, and musical sound, when compared with the more per- 
fect display of these properties on the tonics. The reason 
why words of this construction are necessarily divided into 
two syllables, will appear in the following section. 






SECTION IV. 

Of the influence of the Concrete Movement, in the produc- 
tion of the various phenomena of Syllables. 

The foregoing history of elementary sounds, and of the 
radical and vanishing function, will enable us to explain the 
nature of Syllabication. 



86 THE NATURE 

What are the operations of the voice that produce the 
characteristics of syllables? 

What determines their length? 

Why are syllables limited in length, otherwise than by the 
term of expiration: and what produces the ordinary length 
of them, where there is no obstruction to the further con- 
tinuation of the sound of tonic and subtonic elements? 

And, finally, what prescribes the rule which ordains but 
one accent to a syllable ? 

I shall endeavor to answer these questions concisely and 
in their order. % 

That limited portion of voice, called a syllable, is the 
necessary effect of the radical and vanishing movement : and 
it will be shown that every syllable, consisting of one or 
more elementary sounds, derives its singleness of impulse, 
and its respective length, from the modification which this 
concrete movement receives under the varied influence of 
the tonic, subtonic, and atonic elements. As the reader can- 
not have vocal exemplification of this subject, the argument 
contained in the following inferences must be illustrated by 
his own experimental trials. 

If the concrete movement of the voice through a tone or 
other interval, is the essential function of a syllable, it fol- 
lows that each of the tonic sounds may by itself make a syl- 
lable : since these cannot be pronounced singly, without 
going through the radical and vanishing movement. Now 
the tonics, either in the form of words, or as interjective 
particles, are often employed as mono-literal syllables. 

It follows also from the assumed causation of a syllable, 
that two tonics cannot be united into one vocal impulse. For 
each having by nature its own radical and vanish, they must 
produce two syllables. Consistently with this, we find that 
whenever two elementary tonics are in sequence, they always 
belong to separate syllables in pronunciation. 

If the concrete function of the voice alone constitutes a 
syllable, it follows that the atonies, from being incapable of 
that function, cannot make a new and distinct impulse when 



OF SYLLABICATION. » 87 

joined with the tonics. The word speaks exhibits the mean- 
ing of this inference. For the syllabic function is here made 
on the tonic ee-1, whilst s, p, k and s, add to the time, but 
do not destroy the monosyllabic character of that word. 
The sound is not indeed so gliding and equable as on a 
single tonic, which shows a syllable in its purest form: yet 
the slight obstruction to the singleness of impulse is very 
different from the threefold emphatic division heard in the 
word Ohio — For if this be properly pronounced, that is, if 
each of the three tonics receive its radical and vanish, it will 
be impossible to condense them into one impulse or syllable. 
In answer to the first question, then, — It is the concrete 
movement of the elementary sounds, or the radical and van- 
ishing function, modified by the several elements, which pro- 
duces the characteristics of those impulses of speech called 
syllables. 

Syllables are of different lengths. Is this an arbitrary 
variation : or is it the unavoidable product of the properties 
of the elementary sounds? 

This question is not asked in reference to prosodial quan- 
tities; nor to those emphatic variations of voice that give 
force or solemnity to oratorical expression. It regards espe- 
cially the difference of length in syllables, which is created 
by their literal constituents ; for it will be shown that their 
limits are determined by the arrangement of these. 

In order to render this subject perspicuous, let us take a 
synthetic view of the literal series in words. 

Several of the tonics individually form English syllables : 
as in a-ble, e-dict, awe-ful. These exhibit the syllabic im- 
pulse of the radical and vanish in its Simple condition: and 
their length may equal that of the time of expiration. But 
elements cannot he compounded, with a view to lengthen a 
syllable, by the addition of one tonic to another ; for this 
would produce a new and separate impulse. 

The compounding of elements, which influences the length 
of syllables, is made under the following circumstances of 
their nature and position. If to the element a-\e the atonic 



88 THE NATURE 

/ be prefixed, the syllable fa will be formed, with the con- 
crete rise on «, preceded by the aspiration. If to these the 
atonic s be subjoined, the word fas, (face) will be longer 
than the element a ; still the triple compound will be one 
syllable, since it can have only one concrete rise. For 
though these two atonies may be clearly heard, as part of 
the length of the syllable, yet being incapable of the concrete 
function, the transition through the given interval is made 
altogether on a, as if the word consisted of that element 
alone. The addition of atonies to tonics, is then the first 
mode of increasing the length of a syllable, without destroy- 
ing its singleness of impulse. 

Further, if to the tonic a the subtonic / be prefixed, the 
syllable la will be longer than a, but will still have but one 
function of the radical and vanish. For it was said formerly, 
that when a subtonic is uttered before a tonic, the vanish of 
the subtonic does not occur : its radical continuing on a level 
line of pitch, till the tonic opens on that line with a more 
emphatic radical, and immediately carries up the concrete of 
the syllable. Now in the syllable la, I does begin the im- 
pulse with its vocality, and without perceptibly rising, joins 
the vocality of a, which then forming the full emphatic radi- 
cal, rises and vanishes on the e of its upper extreme. If to 
la the subtonic v be subjoined, the compound lav (lave) 
will be much longer than a ; and its syllabic character will 
still be preserved, by the singleness of its radical and vanish- 
ing movement. In the pronunciation of lav the intonation 
of I and a will be as before, except that a will not now 
rise quite so far through the concrete : for a subtonic having 
all the properties of a vanish, v will in this case fall in 
with a before it reaches the top of the interval, and thus 
complete the vanish of the syllable. The junction of subto- 
nic elements to tonics, is therefore a second mode of adding 
to the length of a syllable, without destroying the unity of 
the radical and vanishing concrete. 

Moreover, if the abrupt element t be prefixed to a, the 
syllable ta, so formed, will be but a single impulse. If g 



OF SYLLABICATION. 89 

be subjoined, the word tag will still exhibit only one radi- 
cal and vanish. If in this manner, two abrupt atonies are 
joined with the short tonics, as in cut, pet, tik, they produce 
the shortest syllables in the language : in which the concrete 
movement, however short, is still performed. This union of 
abrupt elements with tonics, is a third mode of preserving 
the singleness of impulse in a syllable, under the variation 
of its lensrth. 

The three different sorts of combination enumerated above, 
produce their various lengths, in the manner represented by 
the examples under each head. But none of them can be 
much extended beyond the instances given, whilst they are 
restricted to the kind of elements noted in their respective 
cases. 

A fourth mode of combining elements is by a union of all 
the four kinds in one syllable. For the illustration of this, 
it is necessary to bear in mind, that whenever there is a 
pause after a subtonic, consequently whenever it is uttered 
singly, or at the end of a syllable, it unavoidably takes on 
the concrete movement : and that the same condition occurs 
if it is followed by an atonic ; for in this case there is a ter- 
mination of vocality. If we analyze the words strange, (pro- 
perly strandzh) and strength, and the imaginary syllable 
sglivzd, we shall find that but one radical and vanishing 
movement is performed on each of them : and that the sin- 
gleness of impulse is made by the peculiar arrangement of 
the different kinds of elements. They consist of seven 
sounds, which is the greatest number that the nature of the 
elements admits of, even with the best contrived mode of 
combination. The radical and vanish of these syllables are 
made on ange, eng and ivzed, and the principle of the vocal 
management of the other elements is analogous in each : for 
r and I being subtonics respectively before the tonics a-le, 
e-nd, and i-\e, do not take on the concrete. T being an 
abrupt atonic, adds nothing to the vocality of r, and the pre- 
ceding atonic s having no concrete function, the three ele- 
ments s, t, and r, in strange, and in strength, and the s 
12 



90 THE NATURE 

g and / in the imaginary syllable, increase the length of 
the beginning of these several words without destroying the 
unity of their impulses : Whilst the n, d f and zh, — the ng, — 
the v, z and d, which respectively follow the tonics, a, e, and 
i, take up the concrete movement from these tonics, and 
complete the vanish of the single syllabic impulse. The 
final atonic th in strength, merely adds to the length of that 
word, without bearing part in the concrete. The consti- 
tuents in each of the above words may be combined into one 
syllable, in other series : but in all cases, the atonies must be 
on the extremes. If it is otherwise, as in the arrangement 
rstange, the whole cannot be pronounced as one syllable. 
For since the vocality of r, ceases on account of the subse- 
quent atonic s, this r must take on the concrete movement, 
and thus become a syllable. The reader may remember 
that it was said, the subtonics are capable of the radical and 
vanish when uttered separately : and the termination of their 
sound by an atonic, produces this condition. 

I have thus endeavored to show, that the various lengths 
of syllables depend on the nature of the constituent elements, 
and the disposition of them, as regards the execution of the 
radical and vanish. 

The following notation may serve to illustrate the preced- 
ing account of the structure of syllables. This scheme 



* 1 I H * I H '* - H '* 5 



■a 



m 



LV-J.../J...«P^1h/-1-VJ-.cC1 



A-e F-A-e F-A-e-s L-A-e L-A-e-v T-A-e T-A-e-k 

A combination of each of the The double syllabic 

species of elements. impulse by change. 

■••• 



L_ • • • «n^ L o • e .sse^P Li ^p— • • • ^~ 



St — r-andzh St— r--eng — th R-r st—andzh 

represents the movement of a third ; but the mode is the 
same, in all intervals. The dotted line denotes the atonic 



OP SYLLABICATION. 91 

sound. The thick black line, united to the radical, denotes 
the pitch of the subtonic, when it precedes a tonic : and the 
full black radical, with its issuing appendage, signifies the 
tonic alone, or the tonic in combination with a vanishing 
subtonic. 

In this notation, the atonic sounds are represented by the 
dotted lines, as if they had a certain place in pitch ; but 
being mere aspirations, their place is in no appreciable re- 
lation to the tonics and subtonics : and I beg that the reader 
may so understand the notation, where the atonic symbols 
are used to show the presence of the aspirated voice. 

If the principle of compound syllabication consists in a 
voluntary effort and pause of the voice, or in any other mode 
of length than that which is here* insisted on, a syllable 
might contain an indefinite number of tonic sounds, com- 
bined with such other elements as have no occlusion : and 
consequently the length of the syllable would be limited only 
by the time of expiration. But from the influence of the 
radical and vanish, in the utterance of the common aggre- 
gates of elementary sounds, the duration of a syllable is 
quickly arrested. There are twelve tonics ; fourteen sub- 
tonies ; nine atonies ; and six abrupt elements. Twelve of 
these, the nine atonies and the three abrupt subtonics, being 
productive of an interruption to the continuity of the sylla- 
bic impulse, the mingling of all the elements must give one 
of these a position in every third or fourth place among the 
tonics and subtonics, and thereby set a limit to the duration 
of syllabic sound. Sometimes this interruption produces 
syllables of two elements only : and it has never, perhaps, 
in the English language, allowed any syllable in use, to 
extend beyond seven. 

The reason why the words strange and strength cannot 
be made longer without more than ordinary effort, is this : 

The tonic elements cannot be added since, as we have 
seen above, no two of them can be united into one vocal im- 
pulse. Nor will these words bear a subtonic at the begin- 
ning : for as s is an atonic, any subtonic uttered before it 



92 THE NATURE 

must come to a pause, must therefore go through its vanish, 
and thus produce a separate syllable. An atonic being pre- 
fixed to these words would not indeed make a new concrete; 
but it would produce a varying effort of hissing ai;u aspira- 
tion, which would bear no analogy to the audible and 
gliding nature of tonic and subtonic syllabication. 

In answer then to the question, — why syllables are not 
continued to the utmost length of an act of expiration, it has 
been shown that as speech employs all the elements, the 
abrupt and atonic must necessarily divide the time of one 
expiration, into different syllabic impulses. 

From the four kinds of elementary sounds employed in 
the construction of syllables, let us now suppose the atonic 
and abrupt to be rejected, and consequently the last men- 
tioned cause of limitation to be removed. Why is it impos- 
sible in this case to give indefinite length to a syllable, 
formed by the union of a tonic with any number of sub- 
tonics ? — Or, why is such a syllable otherwise limited, than 
by the term of expiration 1 

When a tonic precedes a subtonic, in the formation of any 
concrete interval, it gives up a portion of its movement to the 
subtonic, which then carries on and completes the vanish. 
In this way, the radical and vanish may consist of a tonic 
and one, two, three, or at most four subtonics. But the 
number cannot, in easy pronunction, be extended beyond 
these. Thus in the syllable strandzh {strange) the con- 
crete rise begins on a, and continuing through n, d and 
zh, vanishes on the last. If two more subtonics v and m, 
were subjoined to this word, as in strandzhvm, few speakers 
could make one pure syllable impulse of the combination. 
The reason of this difficulty, or as we may call it, impossi- 
bility, will appear in the following remarks. 

In the most general use of the voice, the concrete rises 
through the interval of a tone, and employs therein a certain 
portion of time. Now though the tone and time may be 
executed on one tonic combined with several subtonics ; yet 
there is a maximum to the number, utterable by an easy 



OF SYLLABICATION. 93 

effort of speech. For since each constituent must have a 
certain duration, to render it cognizable as a variation of 
pitch, and to ensure a distinct pronunciation, it must con- 
sume a portion of the time of the concrete : and it is plain 
from experience that each constituent does consume so much, 
that not more than four subtonics, together with the preced- 
ing tonic, can in easy utterance be compressed into the time 
and space of the radical and vanish. 

Jn describing the concrete, we pointed out three modes of 
this function,— its equable progress, and the prolongation of 
its radical, and of its vanish. When a combination of tonics 
and subtonics, greater than can be used for one concrete, is 
offered for pronunciation, one of two things must occur: 
either two syllables must be formed by two separate con- 
cretes, or some one or more of the numerous constituents 
must be prolonged on one line of pitch. And though this 
last mode of utterance would not necessarily produce two 
syllables, yet by assuming the characteristic note of song, it 
would be very different from the equable effect of the true 
syllabic concrete. 

I have thus endeavored to show why, in ordinary speech, 
syllables cannot be indefinitely extended when they consist 
only of tonic and subtonic sounds, and consequently when 
there is no obstruction to their continuation, by the inter 
position of abrupt and atonic elements. 

A further consideration of the radical and vanishing 
movement, will inform us why there is, ordinarily, but one 
effort of accentual stress on each syllable. It will be shown 
hereafter that there are six modes in which the force called 
Accent can be laid on the concrete. First, by the abrupt 
explosion of the radical. Secondly, by giving more force to 
the middle of the concrete. Thirdly, by greater stress on 
the vanishing portion. Fourthly, by making the whole con- 
crete of the same fulness that naturally belongs to the radi- 
cal. Fifthly, by magnifying, so to speak, the whole of the 
concrete ; the proportional forces of the radical and vanish 
remaining unaltered. Sixthly, by an abrupt stress on the 



94 THE NATURE 

radical, together with an increased force on the vanish of 
the same concrete. The first five of these modes do not alter 
the singleness of the accentual impression. Something like 
an exception to the rule of a single accent, seems to exist in 
the sixth, as will be particularly noticed under the future 
head of Expression : — but this condition, if an exception at 
all, is not of common occurrence, and is by no means con- 
templated here, in looking at the ordinary phenomena of syl- 
labic speech. 

From what has been said upon the construction of sylla- 
bles, the reader will no doubt perceive the causes of their 
difference in degree, as regards the quality of sound, and 
the gliding continuity of voice. The most eminent on these 
points are those formed by a single tonic: and although 
the concrete rise of a diphthong consists of two dissimilar 
sounds, it is not inferior, in the above named character- 
istics to the uniform voice of a monothong. 

The next condition of the syllable is that formed by an 
initial tonic, followed by one or two subtonics, as : aim, ale, 
arm, earn, elm, orle. These have an easy mingling of their 
constituents ; and their tonic commencement allows an 
equable concrete movement, from the opening to the close of 
the syllable. 

The equable progress is, to a certain degree, impaired in 
that order of syllables, of which the first sound is a subtonic, 
as in mains, gale, warms, zearn, realm. Now since the 
radical in these cases does not properly begin on the first 
element, there is a slight Note or level line of pitch on the 
subtonic which precedes the tonic. 

The next of the syllabic combinations are those which con- 
tain each of the three kinds of elements, as swarms, strength, 
thrown, smiles. Here the atonic sounds are not agreeable. 
They prevent the equability of the concrete movement ; and 
though they do not destroy the singleness of impulse, they 
are attended with some hiatus, from the changes of position 
in the organs which produce them. 



OF SYLLABICATION. 95 

A few syllables, such as the last of little, are made of sub- 
tonics and atonies, without the addition of a tonic. They 
are destitute of force and fulness in the radical opening. 
They have the nasal kind of vocality which belongs to the 
subtonics : and it is most remarkable in these syllables, be- 
cause here it is not covered by the clear laryngeal sound of 
the tonics. 

The syllabic impulse has various degrees of smoothness 
from the perfect coalescence of the two constituents of a 
diphthongal tonic, when uttered alone as a syllable, — to the 
transition through an impulse, compounded of all the ele- 
ments. There is a peculiarity in the structure, and a hiatus 
in the pronunciation of certain words, from their apparently 
embracing two concretes in the same syllable. The words 
flower, higher, boy, voice, and coin, by a slight variation in 
effort, may each be uttered either as one or as two syllables. 
Under the first condition, they seem severally to consist of 
the union of two tonics in one syllable, which is impossible. 
When flower is pronounced with a single impulse, it must be 
upon the elements, f, I, ou, and r, and this accords with 
our history of syllabication. When the tonic e-rr is sounded 
before r, it is impossible to avoid the double impulse. 

We have considered the syllable as essentially a function 
of the radical and vanish ; and this function is equally pro- 
ductive of the syllabic impulse, in a downward as in an up- 
ward direction. And it shall be further shown in a future 
section, when the reader is prepared to understand the ex- 
planation, that the unity of a syllable is not destroyed by a 
movement of the voice, in continuity from the upward into 
the downward concrete. 

The preceding history enables us to explain many causes 
which must remain hidden to a less searching analysis. 
Upon our principles of syllabication we may account for the 
disagreeable effect, produced both in the organs of utter- 
ance and on the ear, by the use of the indefinite article a be- 
fore a vowel (or tonic,) and by other similar successions, as 
in aorta. 



96 THE NATURE 

When we utter the tonics in series, we may in a certain 
manner pass from one to the other without a break, and 
without the point of junction being appreciable. In this 
case, the elements are joined to each other by the mediation 
of the subtonic y-e. But in this continuous mode of utter- 
ance, there is an absence of that fulness and abruptness 
which forms, in its proper place, the character of the tonic 
radical ; since abruptness always requires a previous occlu- 
sion of the voice. The effect is different in the continuation 
of a subtonic into a tonic: for the subtonics having more or 
less occlusion, and a vocule more or less distinct, means are 
afforded, by this occlusion and by the outset of this vocule, 
for the formation of the abrupt sound of the tonic ; and con- 
sequently a true radical may be made on a tonic which is 
continuous with a preceding subtonic. Now when the arti- 
cle a is uttered continuously with a tonic at the beginning 
of a word, an unpleasant perception arises from a want of 
the radical fulness in that initial tonic. If, however, the 
article be pronounced separate^, in order that the initial 
tonic may have its full radical opening after the pause, the 
unpleasant effect will be avoided, though the utterance will 
be necessarily slower. In this way, a> — owl and a, — age 
are as unexceptionable, as an owl and an age. The junc- 
tion of the n with a tonic, and the same is true of all the 
subtonics, produces an agreeable coalescence, from the slight 
occlusion between them : whilst the union of the vanish of 
one tonic with the radical of another, creates a disagreeable 
effort in the organs, and produces an unpleasant impression 
on the ear. This hiatus, as it is termed, is caused by a de- 
ficiency in the fulness of the radical ; by an endeavor to sup- 
ply this deficiency, and yet at the same time to pass quickly 
from tonic to tonic ; and by the disappointment of the ear, 
in not receiving the impression of the element, as it is heard 
in the same word on other occasions. We cannot then in a 
continuous course of tonic utterance, produce that desirable 
radical abruptness, which is easily accomplished when the 



OF SYLLABICATION. 97 

tonics are pronounced with a pause between them, or after 
those slight natural pauses or occlusions which belong to the 
subtonics. 

The hiatus accompanying the junction of one tonic with 
i >ther, will be less remarkable when the last receives no 
accentual stress. Thus it is less in a account than in a acci- 
dent : for in the first example, a full degree of radical ab- 
ruptness in the tonic a is not required. 

It is upon the principle of the syllabic agency of the radi- 
cal and vanish, that the passed time and perfect participle of 
some verbs ending in ed, when contracted into one syllable 
by rejecting the tonic e, change d into t, as : snatched, 
snatch' 't; passed, pass't; stopp't; check't. For if the e be 
dropped, the d which remains having a vocality, and pos- 
sessing as a subtonic the power of a concrete movement, it 
must, when preceded by an abrupt or atonic element, as in 
the above instances, exhibit a radical and vanish, and conse- 
quently must make a syllable, in place of that made on ed; 
which, by the proposition, was to be rejected. But if the 
abrupt atonic t is substituted for d, that element may be 
retained without destroying the singleness of the syllabic 
impulse. 

Those irregular verbs which, by contraction, have their 
present and past times and perfect participle alike, are gene- 
rally found to end in t, as: beat, hurt, let, left. The 
economy of utterance or the occasions of poetical measure, 
producing a contraction of the regular form of beat beated 
heated, which we may suppose to have been the original 
structure of the verb, the operation of the radical and van- 
ish in syllabication does not allow the contraction to be 
made by the mere elision of e. For upon this elision, beated, 
can be changed to one syllable, as we have seen above, 
only by substituting the atonic t for the subtonic d, as in 
beat 't, — and this being so awkwardly utterable, the single 
word would be used as the inflection of the verb, and as the 

participle. 

13 



98 THE MECHANISM 

We might still further apply the foregoing principles, in 
the explanation of many apparent anomalies in speech, which 
have hitherto passed without scrutity or without satisfac- 
tory interpretation. But I have already exceeded my ori- 
nal intention, in planning the subject of this section ; and 
must therefore leave other particulars, to the observation 
and reflection of the reader. Perhaps I do not exceed the 
bounds of reasonable anticipation in foreseeing his rising 
interest in this history of the voice. But all these things, 
and more too that shall be told, may be made to seem only 
like the preface to a full knowledge of this subject, — if he 
will adopt the mode of inquiry which has thus far assisted 
me : if he will become the spy upon nature, through his own 
watchfulness, and not draw too much from the precarious 
source of authority: — if he will turn from those discouraging 
prospects, presented by the result of every attempt to make 
knowledge out of notions ; and by entering into sober com- 
munion with his own senses, lay himself open to the ad- 
vising of those five ministers of knowledge, appointed by 
nature for his counseling in all truth. 



SECTION V. 

Of the Causative Mechanism of the Voice, — in relation to 
its different Qualities. 

A description of the different sorts of sound of the human 
voice, without an exemplification by actual utterance, is al- 
ways insufficient and often unintelligible. With a view to 
facilitate instruction, it is desirable to discover the mechani- 
cal movements of the organs, and the mode of action of the 



OF THE VOICE. ' 99 

air upon them; that a reference to the conformations and 
changes of the organs, and to the impulses of the air, may 
enable any one to have a precise perception of the nature of 
described sounds, by using the known physical means which 
produce them. 

The result of physiological inquiry on this subject is not 
satisfactory. It has happened unfortunately that most phy- 
siologists have been public teachers, appointed to stations of 
influence, and directed by the rules of their office, to in- 
struct without having the time, or ability, or disposition to 
investigate. Their condition has obliged them to compile 
without choice, to define and arrange without reflection, and 
to affect an originality which may have been forbidden by 
the frame of their minds, or the multiplicity of their duties. 
From these professorial instructors, the covered movements 
of the organs of speech, seem to cut off the means of obser- 
vation; and whilst they have feigned themselves under 
obligation to teach what they had never learned, they have 
endeavored to elude the difficulty, by framing some of those 
works of fancy which the craft of mastership long ago de- 
vised, for satisfying the cravings of undiscerning youth. 
The puerile wishes of the scholar have been respectfully 
regarded by the teacher; and knowledge under his hands, 
has frequently been rather a picture of the pupil's antici- 
pations, than the truth, and nothing but the truth of nature. 

There are few confirmed opinions among physiologists, on 
the mechanism of the voice ; and by the duties of philosophy, 
we are bound to acknowledge much ignorance and error on 
this subject. We know that the voice is made by the pas- 
sage of air through the larynx, and cavities of the mouth and 
nose. From experiments on the human larynx, and from 
observations upon the vocal function of dogs, by exposing 
the organs in the living animal, it is inferred with great 
probability, that the production of voice is connected with 
the vibration of the ligaments of the glottis. We have no 
precise knowledge of the causes of Pitch; its formation 
having been by authors differently attributed — to the con- 



100 THE MECHANISM 

traction of the glottis, — the shortening of its chords, — their 
altered degrees of tension, — the varying velocity of the 
current of air through the aperture of the glottis, — the rise 
and fall of the whole larynx and the consequent variation of 
length in the vocal avenues, between the glottis and the 
external limit of the mouth and of the nose, — and finally, to 
the influence of a union of two or more of these causes. Nor 
are we acquainted with the mechanisms which respectively 
produce those varieties of sound called the Natural voice, 
Whisper, and Falsette. Each of these varieties has received 
some theoretic explanation; and their locality has, without 
much precision, been severally assigned to the chest, throat 
and head. 

These discordant and fictional accounts have been in some 
measure the consequence of conceiting a resemblance, be- 
tween the organs of the voice and common instruments of 
music : and whilst those fluctuations of opinion which never 
belong to truth, have represented the vocal mechanism to 
be like that of mouthed, or reeded, or stringed instruments, 
the spirit of these unfounded or still incomplete analogies 
has been carried to the outrage of all similitude, by compar- 
ing the tract of the fauces, mouth, and nose, to the body 
of a flute ; and by ascribing a want of accuracy in intona- 
tion to an inequality of tension between what are called the 
* strings of the glottis.' We are too much disposed to mea- 
sure the resources of nature, by the limited inventions of art. 
The forms of matter, which jointly with the motion of air, 
may produce sound, must be innumerable ; and there certain- 
ly is no great comprehensiveness of inquiry, in that analogi- 
cal view of the mechanism of the human voice which regards 
only the functions of those few forms that have received the 
name of ' musical instruments.' 

The illustrations which these analogies are supposed to 
afford, are no more than resting places for the mind in the 
perplexed pursuit of truth. The physiologists of antiquity 
thought they explained the mysteries of the voice when they 
compared the trachea to a flute ; and science reposed from 



OP THE VOICE. 101 

the time of Galen, to that of Dodart and Ferrein in the 
eighteenth century, on the satisfaction produced by this 
fancy. The means of illustration have followed the fashion 
of instruments, and of late years the chords of the seolian 
harp and the reed of the hautboy, have furnished mechanical 
pictures of the organs of voice. One cannot say positively, 
that a resemblance of the mechanism of the voice, to that of 
some known instrument of music, may not be proved here- 
after; but cautious reflection will guard us against surprise 
on a future discovery, that in most points, the functions of 
the two cases are totally dissimilar. Before the use of the 
balloon for the support and progress of man upon the air, no 
one ever imagined the possibility of his flight, through any 
other instrumentality than that of wings. 

The history of the voice consists of some due experiment 
and observation, and of inferences from the principles of 
musical instruments applied without much precision to the 
human organs. We seem to have been so entirely convinced 
of the analogy between these cases, and have relied so im- 
plicitly on systems constructed upon it, that we have for- 
gotten the importance of unbiased observation. The vanity 
of fancying knowledge completed, and despair in thinking it 
unattainable, are equally adverse to the efforts of improve- 
ment. The pure and transcendant spirit of Baconian science, 
directs us by its productive rules, to record all the pheno- 
mena of the voice ; and requires us to know resemblances 
and differences, not to imagine them. There is no doing 
without the counseling of analogies, in investigating the pro- 
cesses of nature. With peculiar adaptation to a varied pur- 
pose, they are the happy instruments of genius, both for 
hewing out and for finishing truth: but they should never 
be confounded with the objects, which they are intended 
merely to shape and to decorate. In the present inquiry, it 
might be proper to take into consideration all the artificial 
instruments of sound; but when a strict use of the senses 
cannot prove a similarity of function between them and the 
organs of voice, it can be no benefit to retain as parts of a 



102 THE MECHANISM 

science, those means which have been used in unsuccessful 
attempts to discover its truth. 

When I speak of our ignorance of the mechanical causes 
of the different kinds of voice, and of their pitch, I beg to be 
clearly understood. To know a thing, as this phrase is ap- 
plied in most of the subjects of human inquiry, is to have 
that opinion of its nature, which authority, analogical argu- 
ment, and partial observation, prompted by various motives 
of vanity or interest, may create. To know in natural philo- 
sophy, we must employ our senses and contrive experiments 
on the subject of inquiry ; and admit no belief of it which 
may not at any time be illustrated by demonstration. Phy- 
siology is too full of the first of these modes of logic : and 
no branch exhibits it more conspicuously than that of the 
mechanism of the human voice. One, from the analogy of 
musical strings, says that Pitch is produced by the varied 
tension of the chords of the glottis; without satisfactorily 
showing that the degrees of tension are correspondent to the 
degrees of pitch in the human voice. — Another teaches that 
the vibration of these chords performs the same function as 
the reed of the hautboy ; without demonstrating the mode in 
which this laryngeal reed effects all the degrees of into- 
nation. Whilst a third ascribes the pitch of the falsette to 
the agency of the base of the tongue, the arch of the fauces, 
the soft palate and the uvula ; without satisfying the doubt, 
that these varied and flexible structures have individually 
or collectively any fixed relationship to the current of respi- 
ration, in the production of that pitch. 

When therefore we seek to know the mechanism of the 
voice, it should be to see, or to be truly told, by those who 
have seen, the whole process of the action of the air on the 
vocal organs, in the production of the quality, force, pitch, 
and articulation of speech. This method, and this alone, 
produces permanent knowledge; and elevates our belief 
above the condition of vulgar opinion and sectarian dispute. 
The visibility of most of the parts concerned in Articulation 
has long since produced among physiologists, some agree- 



OF THE VOICE. 10 3 

ment as to its causes. But after all I have been able to see 
or learn on the subject of Quality and Pitch, I must fairly 
confess an entire ignorance of the mode of their mechanical 
production : and the great difference on this point among 
authors has never impressed me with much respect towards 
their opinions. 

As this section is addressed principally to physiologists, I 
have omitted a description of the organs of the voice, since it 
may be found in all the manuals of anatomy : and it would 
be useless to transcribe an account of structures and actions, 
when we know not what vocal effect those actions produce. 
The general statement of our problem is, that — some part or 
parts of the vocal canal produce all the phenomena of the 
voice. Now when discovery shall point out the efficient 
parts, and the mode of their action, then it will be the duty 
of anatomy to describe their internal organization, and' 
motive powers, that the whole may be made a permanent 
subject of science. Anatomy is truly the foundation of phy- 
siological science ; but observation of the living function has 
almost universally thrown the first light upon its various 
branches. It has been the part of anatomy to confirm or 
complete our knowledge of them ; agreeably to the saying 
of the Greek philosophy that, — what is first to nature in the 
act of creation is the last to man in the labor of inquiry. 
With regard to the mechanism of the voice, we are yet occu- 
pied with the perplexities of analysis ; when that work shall 
be finished, we may begin again with muscles, cartilages, 
ligaments, mucous tissues and the os hyoides, and describe 
the whole with the synthetic steps of natural causation. 

In the meantime, we should not so far follow the example 
of system-makers and professors, as to furnish an account of 
the mechanism of the voice, solely because it is desirable 
and may be looked for. Aiming to serve truth with our 
senses, we should describe what is distinguishable by the ear 
in the different kinds of voice, together with the visible 
structure and movement of the organs ; in the hope that by 
an acknowledgment of our present ignorance, and by future 



104 THE MECHANISM 

observation and experiment, other inquirers may arrive at 
the certainty of doctrine, which through a different method 
of investigation has never yet been reached. 

The thirty-five elements of speech may be heard under 
four different sorts of voice : — the Natural, — the Falsette, — 
the Whispering, — and that improved quality which I shall 
presently describe under the name of the * Orotund.' 

The Natural voice is that which we employ in ordinary 
speaking. It includes a range of pitch from the lowest 
utterable sound, up to that point at which the voice is said 
to break. At this place the natural voice ceases, and the 
higher parts of the scale are made by a shriller kind called 
the Falsette. The natural voice is capable of the discrete, 
the concrete, and the tremulous progression. By the con- 
crete and tremulous movement, the natural may be con- 
tinued into the falsette, without a perceptible point of union. 
Thus the concrete rise in vehement interrogation sometimes 
passes far above the limit of the natural scale, without ex- 
hibiting that unpleasant break in the transition to the fal- 
sette, which in the discrete scale is remarkable both as to 
quality of sound, and executive effort, except with persons 
of great vocal skill. The peculiarity of sound and into- 
nation at this point of the discrete scale, has received the 
name of 'false note.' 

It it said, that the natural voice is produced by the 
vibration of the chords of the glottis. This has been infer- 
red from the analogy between the action of the human 
organ and that of the dog, in which the vibration has been 
observed, by the exposure of the glottis during the cries of 
the animal, — and from the vibration of those chords, on 
blowing through the human larynx when removed from the 
body. The conclusion is therefore probable, but until it is 
seen in the living function of the part, or until there is suf- 
ficient approximation to this proof by other means, it cannot 
be admitted as a portion of exact physiological science. 

With regard to the mechanical cause of the Variations of 
Pitch, in the natural voice, different notions, and they are 



OF THE VOICE. 105 

but notions, have been proposed by their respective advo- 
cates. They were transiently enumerated above. 

In a subject like this, where we know nothing, but where 
theorists are ready to fix on any thing, it is well to begin 
the investigation with the logical process of exclusion; by 
showing what does not produce pitch, in those parts of the 
vocal apparatus which are visible. 

The Pitch of the natural voice does not appear to be at 
all connected with the function of the mouth and fauces, for 
it will be seen on examination, that the rise and fall through 
the scale, may be effected on all the tonic elements; and 
that during the intonation of each, the positions of the tongue 
and fauces remain unaltered, if we except some slight 
unsteadiness of the tongue and soft palate, which can have 
no relation to the definite divisions of pitch. 

The sound of a-we is made whilst the tongue is about on 
a level with the lower teeth ; the mouth being open, for ob- 
servation, and all the parts of this vocal avenue having the 
same position as in an act of silent respiration. In per- 
forming the run of pitch on this element, however, we must 
have a regard to the change of position which the articula- 
tion of its vanish e-rr produces. The sound of e-ve is 
made by approximating the tongue to the roof of the mouth, 
leaving between them a narrow passage for the air. Now 
in one of these instances the track of the mouth and fauces 
is free ; whilst in the other, the tongue almost closes the 
avenue of the mouth, and must be nearly in contact with 
the veil of the palate and the arch of the fauces. But in 
each case the respective positions remain unaltered, through- 
out the variations of pitch; — and in both cases the pitch is 
made with equal facility and exactness. 

Among the subtonics, the pitch of ng is made whilst the 
current of air through the mouth is completely obstructed, 
by the contact of the base of the tongue with the soft palate. 
Th-en, on the other hand, may be run through the scale, 
although it is produced by the stream of expiration over the 
tip of the tongue, when in contact with the upper fore teeth, 
14 



106 THE MECHANISM 

It is unnecessary to refer to the visible positions of the 
mouth and fauces in the production of other elements. The 
identity of pitch, which will be found under their various 
mechanisms, must contribute to the conclusion, from the 
strongest instances which are given above, that the Pitch of 
the natural voice is not produced by the mechanism of the 
mouth and fauces. 

Now as the pitch of the element ng, is made by the 
stream of air passing directly from the glottis through the 
nose, and consequently without its coming into contact with 
the arch of the fauces or the cavity of the mouth, it is 
necessary to inquire, whether the varieties of pitch, if pro- 
duced above the glottis at all, are made in the avenue of the 
nose. But pitch may be made when the air does not pass 
through the nose. Pitch too is a variable function, whilst 
the parts within the nose are incapable of motion. 

The Falsette is that peculiar voice in which the higher 
degrees of pitch are made, after the natural voice breaks, or 
outruns its power. The shrill cry, the scream, and the yell 
are various modes of the falsette. But it must not be un- 
derstood that the compass of the falsette lies, restrictively, 
between the point at which the natural voice ends, and its 
own highest practicable note: for the same kind of falsette 
sound may be formed, even below the usual point of transi- 
tion between the two voices, or that point which we called 
the * false note.' 

All the elements except the atonies, which are only aspira- 
tions, may be made in falsette ; for there is no quality cor- 
responding to this sort of voice, in the higher notes of whis- 
per. It has been already remarked, that the unpleasant 
effect both of sound and of effort, in the change from natural 
to falsette intonation, is obviated when the transition is made 
by the concrete and by the tremulous scales. 

The striking difference in quality between the natural and 
the falsette voices, has created the idea of a difference in 
their respective mechanisms, not only as regards the kind of 
sound, but likewise its pitch. 



OP THE VOICE. 107 

It has been supposed that the falsette is produced at the 
' upper orifice of the larynx, formed by the summits of the 
aretynoid cartilages and the epiglottis :' * and the difficulty 
of joining the falsette with the natural voice, which is 
thought to be made by the inferior ligaments of the glottis, 
is ascribed to the change of mechanism in the transition. 
On this point I have only to add, that the falsette or a simi- 
lar voice, but without its acuteness, may be brought down- 
ward in pitch nearly to the lowest degree of the natural 
voice ; at least I am able so to reduce it, thus producing 
what seems to be a unison, or at least an octave concord of 
the two voices, f Now since the natural voice may by cul- 
tivation be carried above the point it instinctively reaches, 
it may perhaps justify a prosecution of the inquiry — whether 
these voices have a different locality of mechanism : regard- 
ing these additions to the range of pitch and the difficulty 
of acquiring a command over them, as according rather 
with the idea of a difference in the mechanical cause of 
the two voices, than with that of a mere extension of the 
powers of the same organization. 

As we are ignorant of the mechanical cause of the falsette, 
supposing it to be different from that of the natural voice, so 
the cause of its pitch is equally unknown to us. But fiction 
is ever ready to supply the wants of ignorance : and the 
peculiarity of the falsette having suggested to physiologists 
that its mechanism must be different from that of the natural 
voice, several writers have assumed that the pitch of the 
former is made above the larynx, and by the back parts of 
the mouth. It is unnecessary to give the particulars of their 

* See a summary of the discoveries and opinions of M. Dodart, in Rees' Cy- 
clopaedia, under the article, Voice. 

t The quality of this reduced falsette, if I may so call it, consisting of an ap- 
parent combination of its peculiar sound with that of the natural voice, may. in a 
manner, be illustrated by the kind of tone that is produced on a flageolet, by sing- 
ing or rather by what is called ' humming,' during the act of blowing it. A 
similar sound is made by joining a vocal murmur with the shrill aspiration of 
whistling. There is however in both of these cases, more of a buzzing vibration 
than is heard in this reduced or hoarse falsette. 



108 THE MECHANISM 

theory, because there seems to be no other foundation for 
it, than that of the idea of a sort of antithesis in causa- 
tion : since the natural voice, from which the falsette differs 
so much, is supposed to be made within the larynx. But 
whatever may have been the ground, we have had on this 
subject a complete system of physiological explanation, when 
there is scarcely fact enough to warrant a plausible con- 
jecture. 

As we are then ignorant of what is the cause of the varia- 
tions of pitch in falsette, we may perhaps lessen the oppor- 
tunities for supplying the place of ignorance by fiction, in 
showing what it is noU 

If the cavity of the mouth be observed during the exercise 
of the falsette on the element a-we, very little alteration will 
be perceived in the positions of the surrounding parts; ex- 
cept some slight contractile movement in the uvula, as the 
pitch rises, and when this is strained to its highest degree, 
an almost total disappearance of the uvula within the veil 
of the palate. That this contraction of the uvula, in the 
higher notes of falsette is not the sole cause of its pitch ; and 
that it is not produced by parts of the vocal avenues situ- 
ated above the glottis, seems conclusive from the following 
considerations. 

The elements n and m, both of which are made by the 
passage of air from the glottis solely through the nose, can 
be precisely intonated in the falsette scale; in which case the 
current of expiration does not strike the soft palate, uvula, 
sides of the fauces and base of the tongue, — those parts of 
the mouth, by which, it has been supposed, the pitch of this 
voice is produced. 

All the tonic and subtonic elements can be made in the 
falsette. Now it is contradictory to a law of sound, that the 
identical quality called falsette, and its pitch, should be 
made under mechanical forms so varied, that the causative 
structure of some of the elements, as of c-we and a-n give 
a clear passage to expiration through the mouth, whilst that 
of others, as c-ve, I, and r, nearly obstruct it. 



OF THE VOICE. 109 

The falsette may be made by inspiration through the nose 
with the mouth closed : in which case the air cannot come 
into contact with those parts of the mouth, which have been 
supposed to constitute the mechanism of falsette. But fur- 
ther, if we inhale though a tube, one end of which reaches 
beyond the soft palate, the falsette may be carried through 
its pitch, thus formed by inspiration, though the current of 
air in this case does not impress the soft parts at the back of 
the mouth, but passes from the tube directly into the glottis. 
And the same is true of expiration, where the current passes 
directly from the glottis into the tube, without passing the 
isthmus of the fauces. 

I have at this time a case under professional treatment, 
in which the tonsils are so enlarged by disease, that their 
near approach to each other, merely allows space for the 
uvula to hang, touching, between them : thus obstructing the 
passage of air through the mouth, and presenting a struc- 
ture altogether different from that natural condition, which 
has been assigned as the mechanical cause of the falsette. 
And yet this individual, who has some little practice in 
singing, is able to make the falsette intonation. 

I have lately examined the case of a female who is desti- 
tute of the whole of the soft palate. The passage to the throat 
being a single arch curving along the edge of the palate 
bone, instead of the low double arch formed by the soft 
palate and depending uvula in the perfect fauces. Adher- 
ing to each side of the arch, just above the tonsil, there is a 
small tumor, or a sort of fleshy drop ; seemingly formed by 
the curtain of the soft palate, being divided through the 
uvula upwards to the palate-bone, and each portion of the 
curtain being then drawn out of sight on its respective side, 
except the lateral drops, or semi-uvulas, which project in 
the manner and place above described. This is the natural 
state. In straining the highest notes of the falsette, the two 
uvular drops, by some peculiar muscularity, make an effort 
to approach each other across the mouth, and thereby con- 
vert the semicircular arch into the form of a horse shoe, by 



110 THE MECHANISM 

drawing inwards, each about half an inch, along the diame- 
ter of the arch. Now in this case the principal part of 
the apparatus which is said to produce the falsette is 
wanting; yet this voice and its degrees of pitch are ac- 
curately executed by the individual, notwithstanding the 
deformity. 

All the parts that form the back of the mouth are in their 
nature too moveable under the influence of the muscular 
effort, to be the mechanical cause of so precise a function as 
that of the variation of pitch. For where any one point of 
pitch is maintained, the soft palate and its appendage the 
uvula, may be seen to undergo involuntary movements, which 
as far as we know, are inoperative upon the voice. I am 
able to make twenty-four distinct notes with accurate into- 
nation ; fifteen of them are natural and nine falsette. Now 
in running through this compass on the tonic a-we, in which 
the articulative mechanism of an open mouth and embedded 
tongue, allows the isthmus of the fauces to be distinctly 
seen, — I perceive no alteration of position in the natural 
notes, except that of the articulative change, when the voice 
runs into e-rr, which forms the obscure vanish of the diph- 
thong a-we. There is indeed an unsteadiness in the posi- 
tions, but none of that definite gradation in organic changes 
which is implied in the ascription of the variations of pitch 
to the motions of the back part of the mouth. In intonating 
the falsette, discretely, I perceive some change in the palate, 
but little or none in the tongue, if the vanish e-rr is avoided. 
The change in the palate consists of a convulsive action of 
the uvula, which starts up, if I may so speak, at the radical 
opening of a-we and in a moment descends again. This 
convulsive action is not apparent when the voice ascends by 
the concrete; though under the use of both scales, the uvula 
at the highest rise of the falsette is contracted almost to 
obliteration. That this extreme contraction is not a move- 
ment especially productive of the pitch of the falsette, I 
have endeavored to show above : but am not able to say 
whether it arises from some associative muscular action, or 



OF THE VOICE. HI 

from some change of the articulative mechanism in the 
higher notes of falsette. 

These then are the remarks I have to offer, in acknowledg- 
ing my ignorance of the mechanical cause of the quality and 
of the pitch of the falsette voice. 

The Whispering voice is the constituent of the atonic 
elements. All the tonics and greater part of the subtonics 
may likewise be uttered in this mode of sound. The sub- 
tonics — v, z, w, th-en, zh, when whispered, are not res- 
pectively different from the atonies—^, s, wh, th-'m, sh. 
The other subtonics may likewise be heard in aspiration; 
for the -whisper of — b, d, and g, which have been con- 
sidered by Holder and his followers as identical with the 
atonies — p, t, and k, are distinguishable from them, by a 
slight guttural effort of aspiration preceding their final 
explosion. 

We are not acquainted with the mechanical cause of 
whisper, as distinguished from vocality. It has been ascribed 
to the operation of the current of air on the sides of the glot- 
tis whilst its chords are at rest; whereas vocality is said to 
proceed from the agitation of the air by the vibration of 
those chords. This however is merely an inference upon 
analogy, and may claim the rights of probability, but no 
more. 

The whispering voice has its variation of pitch, but under 
circumstances that distinguish its mode of production from 
that of the natural and the falsette. It has been shown that 
the intonation of these voices is not connected with those 
visible alterations of the mouth, tongue and fauces which 
produce articulation ; since the whole compass of the voice 
may be passed through on each of the tonic and subtonic 
elements. But, if I have not been deceived in my observa- 
tion, the transit through the scale of whisper is made by 
taking different elements for the successive steps of the 
movement : that is, each whispered element is in itself in- 
capable of variation in pitch, whilst its true articulation re- 
mains unchanged. 



112 THE MECHANISM 

For the explanation of this subject, I would designate 
three modes of the whispering voice. The Articulated, 
which consists in the pronunciation of the alphabetic ele- 
ments, — The Whistled, which has the well known shrill- 
ness of this function, — and the Sufflated, made by a blowing 
through the lips, which partakes of the nature of the two 
former, without having the shrill quality of the one, or the 
distinct articulation of the other. Now, when in Articulated 
Whisper, the elements are distinctly pronounced, without 
running into the Sufflated mode, it will be perceived that 
the changes of pitch are really made upon changes of the 
elements. In the order of articulated intonation of the to- 
nics, oo-ze is the lowest in the scale, and i-f the highest : 
the succession by the first, third and fifth, through two oc- 
taves, being upon the seven following elements.* 



1 


3 


5 


1 


3 


5 


8 


oo-ze, 


c-we, 


o>rt, 


e-rr, 


e-U, 


o>le, 


U 



If this is the real condition of the scale with regard to its 
mode of progression, for so it appears to me, each interme- 
diate note must consist of sounds that resemble those which 
lay contiguous to it. Thus when we require a second in the 
progression, between oo-ze and c-we, it must partake of 
the articulation of both these elements. And of the two 
sounds for the sixth and seventh, between a-rt and e-rr, 
one will partake more of the articulation of o>rt and the 
other of e-rr. But these intermediate sounds do not exist 

* It is necessary to remark that a delicate ear, and a practical knowledge of the 
scale are required for measuring this progression of whispered articulation. The 
extent of the series of elements given in the text being through two octaves, the 
series must begin on the gravest degree of pitch. In executing the rising order 
of these elements, I am obliged to take oo-ze at the very lowest point, at which 
pure articulation, freed from whistle and sufflation, can be made. This is re- 
quired in order to bring the highest place of i-i within the reach of intonation : 
my voice being just able to compass these two octaves in articulated whisper. As 
a matter for further investigation upon this subject, it may not be irrelevant to 
remark here, the coincidence, in my own case, of the number of degrees in the 
scale of whispered articulation with that of the natural voice : both being about 
fifteen. 



OF THE VOICE. H3 

in our language: hence they are not made without careful 
effort. And thus it is that the intonation of articulated 
whisper, is rarely executed with precision, except on those 
points which are numbered in the preceding series; since 
the familiar elements of speech are employed at those points. 
The pitch of the sufflated whisper appears to be made in 
the same manner as that of the articulated. For as this 
sufflation is only a kind of subdued whistling, a husky imi- 
tation of the whispered elements will be perceived, when we 
rise through the scale with it; the oo-ze being the lowest 
sound, and i-i the highest. This sufflated whisper is 
employed to form the tune of the Jews-harp ; and it is 
owing to the difficulty in articulating the intermediate and 
artificial elements, if I maf so call them, that persons even 
of a good musical ear, are rarely able on first trials to hit 
accurately, more than the third, fifth, and octave on the 
scale of this simple instrument. 

The pitch of whistling is also dependent on the same 
mechanism ; since if in this case as well as in that of suf- 
flation, a thin rod be passed into the corner of the mouth, 
so as to depress the tongue, the power of ascending the scale 
will be destroyed. For in the pitch of whistling, there is, 
however obscure, a quality of sound in the lowest note, 
resembling the oo-ze, and in the highest the i-U and hence 
the depression of the tongue prevents the articulation of all 
those tonics which require the elevation of this member 
towards the roof of the mouth; and these constitute the 
greater portion of the scale. The shrillness of whistling 
seems to be made by the aperture in the lips. Merely as a 
subject of analysis, it might be worth inquiry — whether the 
intonation of the scale of wind instruments, is not in some 
cases altogether produced by the pitch of the sufflated whis- 
per: in others by its combination with the effect of a varied 
position of the lips, — of a varied force of breath, and — of the 
varied ventages or stops. It is well known, that the first 
seven notes of the key of D on the flute, and their corres- 
ponding octaves, are severally, note and octave, made by 
15 



1 14 THE MECHANISM 

the same stop. The difference of pitch between a note and 
its octave, in this case, is produced, not by the position of 
the lips, nor by force of breath, but by the difference in 
pitch of the sufflated whisper with which the breath is 
blown. 

The subtonic elements, when whispered, are individually 
incapable of the variations of pitch : but like the tonics they 
may have relatively to each other, different places in the 
scale. 

The atonies have no variation of pitch in themselves: nor 
is their relative place in the scale, if they have any, of the 
least importance in the use of speech. 

In order to perceive clearly the distinctions here pointed 
out, we must, in executing the articulated whisper, be care- 
ful to make the elements, as it were, at the back of the 
mouth, and to avoid falling into either of the two other 
forms, the characteristic function of which lies nearer the lips. 

The mode of voice which I am now about to consider, is 
not perhaps specifically different from the natural voice; but 
is rather to be regarded as an eminent degree of fulness, 
clearness, and smoothness of its quality : and this may be 
either native or acquired. 

The limited analysis and vague history of speech by the 
ancients, and the further confusion of the subject by com- 
mentators upon them, leave us in doubt whether the expres- 
sion *os rotundum' used by the Romans, in enumerating the 
merits of Grecian utterance, referred to the construction of 
periods, the predominance or position of vowels, or to quality 
of voice. Whatever may have been the original signification 
of the phrase, the English term ' roundness of tone,' specify- 
ing the kind of voice, seems to have been derived from it. 

He who by closely observing the human voice, in its best 
instances on the stage, has acquired a knowledge of its pow- 
ers and beauties, may remember how slowly he came to the 
full perception and relish of them. And he will not deny 
that they would have earlier attracted his attention, had 
they been signalized by a proper oratorical name. On the 



OF THE VOICE. H5 

basis of the Latin phrase, I have constructed the term Oro- 
tund, — to designate both adjectively and substantively, that 
assemblage of eminent qualities which constitute the highest 
character of the speaking voice. 

By the Orotund voice, I mean that natural or improved 
manner of uttering the elements which exhibits them with 
a fulness, clearness, strength, smoothness, and a ringing or 
musical quality, rarely heard in ordinary speech ; and which 
is never found in its highest excellence, except through long 
and careful cultivation.- 

By Fulness of voice, I mean that grave and hollow vol- 
ume, which approaches towards hoarseness. 

By Clearness, a freedom from nasal murmur and aspira- 
tion. 

By Strength, a satisfactory loudness or audibility. 

By Smoothness, a freedom from all reedy or guttural harsh- 
ness. 

By a Ringing quality of voice, — its distant resemblance 
to the resonance of certain musical instruments. 

I know how difficult it is to make such descriptions de- 
finite, without audible illustration. Perhaps the best mode 
of instruction on this subject, is to excite attention by terms ; 
to give as clearly as possible a detailed explanation of the 
thing by figurative reference, and to leave its recognition 
to the subsequent observation of the learner. The same 
natural relationships that suggested the metaphor to its 
inventor, may in due time lead others to acknowledge the 
aptness of the illustration.* 

* Reverberations may serve to furnish some idea of two of the qualities of the 
orotund voice. Thus vaulted ceilings and coved recesses often give a ringing 
echo ; and speaking with the mouth within an empty vessel produces a hollow 
fulness. One of the best instances I ever heard, of the modification of the human 
voice, into the above named qualities, was from a boy who had sportfully got into 
a large copper alembic. 

It may be worth thinking upon, — whether the brazen vases of the Greek 
Theatre, were not intended to improve the voice in quality, rather than to in- 
crease its force, or to return a concord to its pitch. The speaking trumpet af- 
fords, though not agreeably, an illustration of the qualities above described : and 



116 THE MECHANISM 

The mechanical structure and action which produce the 
orotund are to me, after much inquiry, unknown. During 
its utterance, one may perceive some motion and contraction 
of the back parts of the mouth, as distinguished from the 
position of those parts under the colloquial voice. But these 
indications of a cause are so slight and so indefinite, that to 
me, they do not at present justify more than this general 
notice. In our ignorance of the mechanism of speech, we 
are not even able to decide whether the orotund is merely 
an improved quality of the natural voice, or the product of 
some additional function. I said above that the falsette, or 
something hoarsely like it, may be executed in the lower 
range of pitch of the natural voice. It might therefore be 
suggested for inquiry — whether the cause of the orotund is 
the same as that of the reduced falsette, or as it may be 
called the Basso-falsette : for this has somewhat of the full, 
hollow, and ringing effect, which I have ascribed to the 
acquired orotund. 

Connected with the subject of an improved quality of the 
singing voice which vocalists call ' Pure Tone,' there are a 
number of terms ussd to describe the mechanical- causes of 
its different kinds and qualities. Among these, the causations 
implied by the phrases 'voce di testa' and 'voce di petto,' 
or the voice, from the head, and from the chest, must be 
considered as altogether without foundation in physiology : 
and the notions conveyed by them, must be hung up beside 
those metaphorical pictures, which with their characteristic 
obscurity, have been in all ages, substituted for the unattain- 
able delineations of the real processes of nature. 

There is a harsh quality of utterance called the Guttural 
voice, which is produced by a vibratory current of the air, 
between the sides of the pharynx and the base of the tongue, 
when apparently brought into contact above the glottis. If 
then the term ' voice from the throat,' which has been one 

could the bugle or the organ diapason be made to articulate, it would show the 
highest measure of that fulness and sonorous effect, which in a reduced propor- 
tion constitute the character of the orotund voice. 



OF THE VOICE. 117 

of the unmeaning or indefinite designations of vocal science, 
where applied to this guttural quality, it would precisely 
assign a locality to the mechanism. 

Though I have not hesitated to acknowledge my igno- 
rance of the mechanism of the orotund, I know that its func- 
tion, wherever performed, may yet be subjected to the will. 
And as it was said above, that the best and only pure in- 
stances of this voice, are the result of cultivation, I here pro- 
pose to point out some elementary means by which it may 
be acquired. 

It might be sufficient for a teacher of elocution to exem- 
plify the orotund, and bid the pupil to imitate it. Vocalists 
in their lessons on Pure Tone do little more. But singing 
has long been an art : and its many votaries have rendered 
the public familiar with its leading principles, and accus- 
tomed the ear to the peculiarities of its practice. Whilst 
elocution seems to be no more than a brutal instinct; in 
which some only bleat, bark, mew, whinny, and bray a lit- 
tle better than others. In describing, therefore, without the 
opportunity of illustrating, it becomes necessary to address 
the pupil, as if he had no principles to help his understand- 
ing, nor exemplified sounds to satisfy his ear. The only 
way in which this purpose can be answered in written in- 
struction, is to make him teach himself, by referring him to 
those functions of the voice, which are familiar to him both 
by nature and name. When the scholastic world shall 
understand the analysis of the speaking voice, and shall 
apply it to practice, men will learn the good things of elocu- 
tion from one another, children will catch the proprieties of 
speech from well-taught parents, and many a topic of this 
work which I have labored, perhaps in vain, to make at 
this time perspicuous, may hereafter, from the unsought 
enlightening of surrounding knowledge, seem to be perspi- 
cuous in itself. 

With due attention, we perceive two modes in the act of 
respiration : the one being a continued stream of air through- 
out the whole time of expiration ; the other consisting in the 



118 THE MECHANISM 

issue of breath by short iterated jets. The first of these 
modes is that of ordinary breathing, panting, sighing, groan- 
ing, and sneezing. The second is employed in laughter, 
crying, and speech.* 

By a voluntary power over the muscles of respiration, 
the breath in speech is dealt out to successive syllables, in 
such small portions as may be requisite for the time and 
force of each. In thus guarding against waste, the necessity 
of frequent inspiration is obviated : and the ability of 
pausing freely in the course of expiration, between syllables 
and words, allows a subsequent abrupt opening of the voice, 
whenever it is required for the purposes of speech. 

The act of Coughing may be made either by a series of 
short abrupt efforts, in expiration ; or by one continued im- 
pulse which yields up the whole of the breath. Now this 
last named mode forms one of the means for acquiring the 
orotund voice. This single impulse of coughing is an abrupt 
utterance of one of the short tonics, followed by a conti- 
nuation of the mere atonic breathing h till the expiration is 
exhausted. Let this compound function, consisting of the 
exploded vocality and subjoined aspiration, be changed to 
an entire vocality, by continuing the tonic in place of the 
aspiration. The sound thus produced, will with proper cul- 
tivation, make that full and sonorous quality here denomi- 
nated the orotund. 

This contrived effort of coughing, when freed from abrupt- 
ness, is like that voice which accompanies Gaping : for this 
has a hollow and ringing vocality, very different from the 
colloquial utterance of tonic sounds. It may be shown con- 
spicuously, by uttering the tonic c-we, with the mouth 
widely extended. 

* Laughter and Crying will be particularly noticed hereafter. 

Sighing and Groaning are of similar time : one being an atonic or whispered 
element, the other a tonic vocality. 

Sneezing is a continued expiration abruptly begun ; and generally producing 
one of the elements. 

I say nothing here of the various modes of inspiration connected with these 
acts. 



OF THE VOICE. U9 

Let this entire vocality of the cough, if it may be thus dis- 
tinguished from the natural cough, which is part vocality 
and part aspiration, — let it, I say, be practiced sufficiently, 
and the learner will find not only an increasing facility in 
executing it, but its clearness and smoothness will be thereby 
improved. Let the voice be herein exercised by sliding up- 
wards and downwards, through the concrete scale, on each 
of the tonic elements , drawing out the vocality to the 
utmost pressure of expiration. Then let trials be made on 
syllabic combinations.* 

When the learner is able to execute the tonic elements 
and single syllables in the orotund, he is not therefore quali- 
fied to speak in it. Since he will find on attempting to de- 
liver a sentence in the easy flow and time of ordinary dis- 
course, that his natural voice will return. The cause of this 
may be understood, by his recollecting the distinction be- 
tween the two modes of expiration. For though he may 
have a facility in making the orotund with the continuous 
stream of vocality, he has yet to acquire the art of deliver- 
ing that voice, by interrupted jets of expiration, such as are 
used in natural utterance, and which are absolutely essential 
to easy and agreeable speech. Continued practice, however, 
with a gradual increase of the number of syllables will, in 
time, bring his interrupted expiration of the orotund under 
the same command as that of common speech. 

And although he may at last have acquired the power of 
uttering any number of successive syllables by interrupted 
jets of this voice : yet the manner of their succession will be 
monotonous; there will be a failure in his designs of expres- 
sion ; and an inability to make the proper close at the end 
of a sentence. Repeated practice will give correctness and 
facility on these points, and the management of the orotund, 

* This process of forcing out the breath to the seeming exhaustion of the lungs, 
is apt to produce giddiness of the head. Care should therefore be taken, to avoid 
continuing the exercise of the voice too long in this manner ; and to desist, for the 
time, after that affection comes on. 



120 THE MECHANISM 

for the impressive and elegant purposes of speech will, in 
time, be no more difficult than that of the natural voice. 

The method of acquiring the orotund, is similar to our 
instinctive progress in the use of the natural voice. The 
cries of infants are made on the continued stream of vocal ity. 
It is a long time before they employ the interrupted mode of 
expiration. The first speech of the child is by an apportion- 
ment of a single syllable to a breath. By a preparatory 
exercise in the interrupted jets of laughter and crying, the 
habit of perfect speech is acquired. The same kind of mono- 
syllabic breath, that is employed in infant articulation, and 
in acquiring the orotund, occurs in the debility of extreme 
age, and in cases of exhaustion from disease : for here the 
utterance frequently consists of but one, or at most two syl- 
lables to an act of expiration. The condition is similar in 
panting from violent exercise: the voluntary power which 
governs the interrupted jets of expiration being lost in this 
case. 

The orotund is possessed in various degrees of excellence 
by Actors of eminence. The state of mere animal instinct in 
which they have been, with regard to the uses of the voice, 
must convince us that they can have no systematic means 
for improving it. There is, however, one circumstance in 
theatrical speech, which may undesignedly produce in the 
course of time, the full volume and sonorous quality of the 
orotund. I mean the practice of vociferating, which seems 
to be required, by the extent of the House, and by the poeti- 
cal rant and bombast of what are called 'stock acting tra- 
gedies.' In addition, therefore, to the previously described 
means for acquiring the orotund, I shall, in a few words, 
point out a varied mode, suggested by the vehement efforts 
of dramatic recitation. 

Let the reader make an expiration on the interjection hah, 
in the voice of whisper; using that degree of force which, 
with some motion of the chest, seems to drive all the air out 
of it. Now let the whisper in this process be changed to 



OF THE VOICE. 121 

vocality. This vocality will have the hoarse fulness and 
sonorous quality of the orotund. It is the forcible exertion 
of this kind of voice which constitutes vociferation; for vo- 
ciferation is the utmost effort of the natural voice, as the 
scream or yell is of the falsette. Actors who affect the first 
rank in their art, have commonly an energy of feeling that 
prompts them to a degree of force in utterance, which pro- 
duces the mixture of vocality and aspiration, heard in the 
interjection hah; and I shall show in a future section, that 
the junction of a certain degree of aspiration with the tonic 
elements, is one of the means of earnest and forceful expres- 
sion. The frequent occurrence of exaggerated sentiments 
in the drama, joined to the effort required by the dimensions 
of a theatre, produces a habit of interjective expiration, which 
when exerted through a wide extension of the mouth, leads 
the speaker to the attainment of the orotund, if his voice is 
capable of it. 

It must not be supposed that the full, hollow, and ringing 
sound of the orotund is always of the same purity. It varies 
as to its degrees of strength and fulness; and is sometimes 
slightly infected with aspiration, or nasal murmur, or gut- 
tural harshness. 

If it should be asked — what advantage is to be gained by 
the care and labor here enjoined, for acquiring this improved 
quality of the speaking voice, I answer: 

First. The mere sound is more musical than that of the 
common voice. In comparison with the full and sonorous 
character of a fine orotund, there are voices which have as 
little of the nature of music in them, as the noise of a ham- 
mer on a block. This quality is so alluring that it often 
catches the ear and approbation of those who are quite in- 
sensible to impressions from the agency of pause, quantity, 
and intonation. I have known the single influence of a 
musical voice create an extensive fame for its possessor, 
who in more essential points of good reading was even below 
mediocrity. It is this quality which dignifies the other ex- 
16 



122 THE MECHANISM 

cellencies of speech. In the female voice it is most obvious 
and delightful. 

Secondly, The orotund is fuller in volume than the com- 
mon voice: and as its smooth musical quality gives a deli- 
cate attenuation to the vanishing movement, its fulness 
with no less appropriate effect, displays the stronger body 
of the radical. 

Thirdly. It has a pureness of vocality that gives distinct- 
ness to pronunciation. For when completely formed, it is 
free from the dullness created by nasal murmur or aspira- 
tion ; the characteristic offensiveness of which is shown by 
the union of these functions, in Snoring. 

Fourthly. It has a greater degree of strength than the 
common voice. In this respect it partakes of the nature of 
things which are perfect in their kind. The ear seems filled 
with its volume and asks for no more of it. There is too, 
on the part of the speaker himself, that satisfactory sensa- 
tion which attends the full energizing of a function: for here 
nature herself seems to acknowledge that he has done his 
whole duty. Those who by cultivation of the singing voice 
have brought its tone to the utmost extent of fulness and 
purity, will admit the importance of any means which give 
strength to the organ for the purposes of speech. Compared 
with the power and facility of an endowed and high-taught 
vocalist, mere instinctive efforts in song seem to be not much 
removed from the imbecility of paralysis. 

Fifthly. The orotund, from the discipline of cultivation, 
is more under command than the common voice : and is 
consequently more efficient and precise in the production of 
long quantity ; in varying the degrees of force ; in executing 
the tremulous scale, and in fulfilling all the other purposes 
of expressive intonation. 

Sixthly. It is the only kind of voice appropriate to the 
master style of epic and dramatic reading. Through it 
alone the actor consummates the outward sign of the dignity 
and energy of his conception. The impressive authority 



OF THE VOICE. 123 

and stately elegance of this voice, exceed as measurably, the 
meaner sounds of ordinary discourse, as the superlative pic- 
tures of the poet, and the broad wisdom of the sage, respec- 
tively transcend the poor originals of life, and all their 
wretched policies. It is the only voice capable of fulfilling 
the majesty of Shakspeare and Milton. 

Finally, as the orotund does not destroy the ability to use 
at will, the common voice, it may be imagined how their con- 
trasted employment may add the resource of vocal light and 
shade, if I may so speak, to the other means of oratorical 
coloring and design. 

The Tremulous movement of the voice does not appear to 
be produced by any of the visible parts of the fauces : though 
there is a gurgling noise, somewhat resembling it, which pro- 
ceeds from the vibration of the uvula, when brought into 
contact with the base of the tongue in the expiration of the 
elements e-ve and e-rr. I leave it for future observers to 
ascertain whether the tremulous rise and fall may not be 
referred to the same organic cause which produces the varia- 
tions of pitch in the natural and falsette voices. 

1 have thus endeavored to set forth what we do not know 
of the mechanism of speech. The subject of the voice is 
divided into two branches, — Anatomy and Physiology. The 
first embraces a description of the vocal organs. The second 
a history of the functions performed by that organization. 
The anatomical structure is recorded even to the utmost 
visible minuteness: whilst the history of those audible func- 
tions which it is the design of this work to develope, and 
which, by the strictest meaning of the term, constitute the 
vocal physiology, has in a great measure been disregarded, 
under a belief that the subject is beyond the power of 
scrutiny. 

In thus overlooking a physiological analysis of quality, 
force, and pitch of vocal sound, writers have merely endea- 
vored to ascertain what parts of the organization produce 
these several phenomena ; and seem to have almost restricted 
the name of physiology to their vain and contradictory 



124 THE DIATONIC 

fancies about these mechanical causations. Hence in the 
oratorical physiology, if I may so call it, of the organs of 
speech, there is little of that rooted opinion, which in most 
cultivated sciences, contends with an original inquirer at 
every step. Whereas the subject of mechanical causation, 
like all other matters of theory, has become doctrinal and 
divided; and the inquirer has here not only to strive at 
reaching the secresy of nature, but harder still, has to en- 
counter the obstinacy of sectaries, whose opinions have 
grown into pride by their unyielding contentions with each 
other. 

When the reader has finished this volume, he will perceive 
that in this fifth section I was somewhat occupied in discuss- 
ing the notions of men; whilst in all the rest, I was entirely 
employed in attempting to delineate the works of nature : A 
contrast that may well induce a lover of truth and brevity 
to exclaim, — Happy is he, who desiring to advance the cause 
of knowledge, comes to a subject which the fictional finger 
of the schools has never touched. 






SECTION VI. 

Of the Melody of Speech ; together with an inquiry how 

far the Musical terms, Key and Modulation, 

are applicable to it. 

When the nature of the radical and vanishing movement 
was described, it was regarded individually, or as applied 
to a single syllable. But as speech consists for the most 
part, of a series of syllables, on each of which the concrete 
function of the voice instinctively occurs ; it is necessary to 



MELODY OF SPEECH. 125 

consider the use and relationships of the radical and vanish, 
in their aggregate application to the successive syllables of 
discourse. 

In plain narrative or description, the concrete utterance of 
each syllable is made through the interval of a tone : and 
the successive concretes have a difference in the place of 
their pitch, relatively to each other. The appropriation of 
these concretes to syllables, and the manner in which the 
succession of their pitch is varied, are exemplified in the fol- 
lowing notation : 



He 


reads 


in 


na 


— ture's 


in fi nite 


H*- 


</ 


«r 


-4- 


4 




— -^^ ^gf ^f 



book of se ere cy. 



ML 



If these lines and the included spaces be supposed, each 
in proximate order, to denote the difference of a tone in 
pitch, the succession of the several radicals, with their 
issuing vanish, will show the places of the syllables of the 
superscribed sentence, in easy and unimpassioned utterance. 
The perception of the effect of the successions here exempli- 
fied, is called the Melody of Speech. 

A strict definition of the term, melody of speech, embraces 
the doctrine of pitch, of force, of time, and of pause ; and 
regards likewise, intervals of the scale wider than those 
above exemplified ; but as the nature of each of these con- 
stituents will be separately described hereafter, the sub- 
ject of the present section is limited to the development of 
the principles of pitch when the melody is made exclusively 
through the rising interval of a tone. 

An accurate perception of the difference of pitch in speech 
can be obtained only by close observation, and by well de- 



126 THE DIATONIC 

vised experiment. The inquirer should be able to rise and 
descend through the musical scale, on any one of the tonic 
elements. He should then traverse the octave, both ascend- 
ing and descending, on any eight successive syllables, se- 
lected from common discourse ; using a different syllable for 
each note of the scale. This exercise will in due time enable 
him to recognize the intervals of a tone, a third, a fifth, 
and an octave, when the intonation is made on the passing 
syllables of speech. Being thus prepared, let him try to 
analyze the sentence in the above example, when uttered 
in his own natural manner ; for he may not yet be able to 
follow the notation. With this view he should move slowly 
through the sentence, sounding only the tonic element of 
each syllable; and giving those elements their shortest 
abrupt sound : so that the reading being thus inarticulate, 
may resemble the successions of a short cough. This me- 
thod will make the variations of pitch more distinct than 
when all the elements are pronounced. 

If this contrived utterance does not afford a clear percep- 
tion whether a given syllable rises or falls a tone, from the 
place of the preceding one, let the inquirer measure the 
questionable relation of the two sounds, by the rule of the 
scale, in the following manner. Whilst he pronounces the 
syllables as if he were reading, let him notice their pitch, as 
if they were parts of the scale. When the second is above 
the first, he will perceive that those two syllabic sounds form 
the two first steps of the rising scale : for by continuing to 
rise by an alternate use of these syllables, he will complete 
the scale upon them. When the second syllable is below the 
first, he will, on the addition of one or more tones below the 
second, recognize that peculiar effect which belongs to the 
close of the scale, and to the fall of the voice at a period of 
discourse : for this effect can take place only upon a descent 
of the voice. In the use of the means here directed, the ear 
must, with divided attention, be turned at the same time, to 
the progress of the spoken melody, and to the successions of 
pitch in the musical scale. 



MELODY OF SPEECH. 



127 



In order to render the system of melody intelligible, we 
may consider the succession of its sounds as subdivided into 
that which takes place generally in the sentence, and that 
which occurs on a short portion at its termination. These 
divisions, may be otherwise termed, the Current melody, 
and the melody of the Cadence. 

The current melody, or that succession of rise and fall 
which is made on all the syllables of a sentence, except the 
three last, exhibits the following phenomena. 

In simple phraseology, which conveys no feeling or empha- 
tic sentiment, every syllable consists of the upward radical 
and vanishing tone. The succession of these concrete tones 
is made with a variation of pitch, in which any two proxi- 
mate concretes never differ from each other more than the 
interval of a tone. 

To distinguish these two modes of melodial progression 
by short and referrible terms, let us call the concrete rise of 
each syllable, the Concrete Pitch of melody ; and the place 
that the beginning of each syllabic impulse assumes above 
or below that of the preceding, the Radical Pitch. Thus in 
the foregoing example of notation, every one of the syllables 
has the concrete pitch of a tone, passing from line to space, 
or from space to line. The two composing the word nature, 
differ a tone from each other in their radical pitch, whilst 
that of the three syllables of infinite is the same. 

It will be shown, hereafter, in its proper place, that the 
melody employed at some of the pauses in discourse, re- 
quires a certain succession of radical pitch, for the just 
representation of sense and expression. But the parts con- 
tained within the divisions, made by these pauses have, in 
general, no fixed mode of arrangement : for the effect will be 
natural and agreeable, if the melody of these parts is made 
by avoiding a continuation of the same radical pitch ; or of 
an alternate rising and falling ; or of any other progression 
of remarkable regularity. I offer here three different nota- 
tions of the same sentence, in which the above cautions are 



128 



THE DIATONIC 



observed ; and in each of which the melody has a natural 
construction. 



He ne ver drinks, but Ti mon's sil — — ver 



-^p SjE — 



Z3 



g 



treads 


up— 


— on 


his 


lip. 


* cT «T 


4 m> 



He ne ver drinks. but Ti — mon's sil- 



* 4 ^jL_4l\ 



treads 


up on his 


lip. 


4 * ''* 4 


m w ^ 



He 


ne ver 


drinks, 


but 


Ti mon's 


sil— 


ver 




4 4 


4 


if 


4 4. 




4 


Q? 


w 







treads 


up 


— on 


his 


lip. 


4 


f 


j 






- - d - 



There are other modes in which an agreeable melody 
might be framed for this sentence, on the principles of the 
varied succession of radical pitch here delineated. But, 
however, varied the succession, its forms are all reducible to 



MELODY OF SPEECH. 129 

a limited number of aggregates of the concrete tones. These 
may be called the Phrases of Melody. 

When two or more syllables occur successively on the 
same place of radical pitch, it may be called the phrase of 
the Monotone. 

When the radical pitch of a syllable is a tone above that 
of a preceding syllable, the phrase may be termed the Rising 
Ditone. 

When the radical pitch of a syllable is a tone below that 
of a preceding syllable — the Falling Ditone. 

When the radicals of three syllables successively ascend 
a tone — the Rising Tritone. 

When the radicals of three syllables successively descend 
a tone — the Falling Tritone. 

When there is a train of three or more syllables, alter- 
nately a tone above and below each other, it may be called 
an Alternation or the Alternate phrase. This may seem to 
be an unnecessary distinction ; as the alternate phrase is no 
more than a succession of the rising and the falling ditone. 
But as this succession does often occur in speech, the term 
Alternation is here assigned, as a brief expression for this 
mode of melodial phraseology. 

When three syllables successively descend in their radical 
pitch, at the close of a sentence, the phrase may be called 
the Triad of the Cadence. This is, indeed, a falling tritone, 
but since the vanish of the lowest radical in the tritone of 
the cadence always descends, as shall be shown presently, 
I have thought proper to contradistinguish it by the term 
Triad. 

It is to be remarked here, that the name and character of 
the phrases of melody are the same, when the syllabic con- 
crete has the downward direction ; the movements of the 
radical pitch, which make the distinction of the phrases, not 
being affected by the course of the concrete pitch. 

The form of these phrases is pointed out on the notation of 
the following lines ; where the current is constructed in a 
manner not unsuitable to the simple narrative of the cou- 
17 



130 



THE DIATONIC 



plet : though here, as in some other instances of this essay, 
the melody is made with a view to illustrate description, 
rather than to furnish examples of appropriate elocution. 



That quar — ter 


most the 


skil — ful Greeks 


an noy, 


s V * 


* j 


4 * 


4 * 


m m m 









Monotone. Falling Ditone. Rising Tritone. Rising Ditone. 



Where yon wild fig trees join the walls of Troy. 



**- ¥ A* * ** I * V 



Falling Tritone. 



Alternation. 



Triad of the Cadence. 



I have not been able to discover that the melody of plain 
narrative or description is resolvable, into more than these 
seven phrases. It would seem to be part of the ordination 
of the diatonic melody, that there should not be a rise or 
fall, of any great extent, by proximate degrees. I have 
limited it to the tritone, in both directions, because it ap- 
pears to me that a further progression is not agreeable. 
Whether the propriety of excluding rising and falling 
phrases of more than three constituents, from diatonic speech, 
might be grounded on the perception, that the effect of such 
phrases somewhat resembles that of song, particularly in 
ascending the scale, whereby the semitone is traversed, — I 
leave to be determined by others ; hoping, in the spirit of 
true philosophy, that until this point is ascertained, there 
will be no party divisions or idle wrangling about it. 

The three examples given in a preceding page, of the 
varied current melody of the same sentence, and the state- 
ment that even in that short sentence, the phrases might be 
further agreeably diversified, enable us to understand why 
an accomplished speaker may readily avoid a monotonous 
continuation of the same radical pitch, and formal returns 



MELODY OF SPEECH. 131 

of similar progressions. For notwithstanding the pitch is 
necessarily limited to the variety afforded by the rise and 
fall of a single tone, yet the different phrases of melody, and 
their practicable changes, furnish sequences of dissimilar 
passages, quite sufficient to prevent a recognition of identity 
in the succession. The ear of a skilful speaker should be 
always on the watch against the too frequent repetition of 
the same phrases : and there are enough variable elements 
of melody to afford an easy exemption from this cause of 
monotony. The principle that governs the construction of 
the successions of pitch in the melody of speech, is similar 
to that which directs the arrangement of varied accent, and 
quantity, in the rythmus of well adjusted prose. Excellence 
in each is the work of a delicate and discerning ear : and its 
habitual and almost involuntary judgment is not less effec- 
tive in one instance, by securing the beauties of a varied 
intonation, than in the other, by rejecting the prosodial 
measures of acknowledged verse. 

The melody of speech is made by movements of the voice, 
partly in the concrete and partly in the discrete scale. The 
radical and vanish of each syllable is strictly concrete. The 
transition from one syllable to another partakes in some 
instances of the nature of a concrete junction. Thus, in the 
first diagram of this section, the vanish of the syllable he 
rises through the interval of a tone. The radical of reads 
begins on the place at which the preceding vanish ends: 
for though the fulness of the radical sound broadly dis- 
tinguishes it from the fine termination of the antecedent 
vanish, and notwithstanding there is a momentary inter- 
ruption of the line of sound, yet there is an appearance of 
one kind of continuity between them. The transition of the 
melody from the syllable in to na is by the discrete scale; 
for the radical of na begins a whole tone below the radical 
of in, and the change from the vanish of in to the radical 
of na is here made without the downward continuity of 
the concrete scale. In a general view of this subject, it 
may be stated, that the constituents of the phrases of the 



132 THE DIATONIC 

rising ditone and tritone, are joined by the imperfect kind of 
concrete spoken of above. In the monotone and the falling 
phrases, the transition is made by the discrete scale. It will 
be readily acknowledged that the changes of pitch after a 
cadence or full stop, must be by the discrete scale. 

If the foregoing description of the successions of pitch in 
plain narrative, is correct, we may, upon strict etymology, 
call the sum of those successions the Diatonic Melody of 
speech. For in the first place, the vanish of each separate 
concrete rises through the space of a tone; and secondly, 
the changes of radical pitch are made through the same in- 
terval. 

These two functions, the first having the peculiar charac- 
teristic of the equable rise, are the material points that dis- 
tinguish the melody of speech from that of song. 

There are two kinds of succession in song : the first by 
conjoint degrees, or the change of the note from one place 
on the scale, to another immediately above or below it: the 
second by skips as they are called, or by transitions from a 
given place, to any other except the proximate. 

The melody of speech does employ both these modes of 
succession : but that by skips is of more rare occurrence 
than in song. 

In treating hereafter of the nature of emphasis, and of 
interrogative sentences, the occasions and manner of using 
these wider changes of radical pitch will be shown. The 
melody of simple narrative or inexpressive speech, now before 
us, always moves by conjoint degrees. 

We proceed to analyze the intonation, applied to the final 
syllables of a sentence ; and which, from its position and pe- 
culiar nature, I have contradistinguished as the Melody of 
the Cadence. 

When the eight notes of the musical diatonic scale are 
uttered, both ascending and descending, by a repetition of 
the word cordova, the appropriation of syllables will be 
thus: cor-do-va cor-do-va cor-do: and descending, cor-do 
cor-do-va cor-do-va. By thus sol-faing, if I may so 



MELODY OF SPEECH. 133 

speak, on these syllables, the last repetition of the word in 
the descent, is allotted to the three lower notes of the scale: 
the final syllable making a full close on its key-note. In this 
experiment, the intonation is supposed to be made by the 
note of song; as it would certainly be so made, by a person 
familiar with the scale. But if whilst descending, these 
three notes of song be changed to equable concretes of 
speech, the effect on the ear will be identical with that of 
the same word, at a full period of discourse. From this, 
and other trials it may be learned, that the melody of the 
cadence is always made on the three closing notes of the 
downward scale. 

But the most remarkable effect of the cadence lies in ano- 
ther point. All the radical sounds of the current melody 
have been represented as terminating in a rising vanish; yet 
we shall have occasion to see hereafter that the purposes of 
variety and expression, often require the use of a downward 
concrete. Now, one purpose of a contrary movement is, to 
bring the current of the voice to a close ; and with this in- 
tention, the last constituent or lowest concrete of the cadence 
is made by a feeble downward vanish of a tone. It is this 
course of the concrete, which is here so easily distinguishable 
from the rising vanish, that assists in producing the repose 
at the end of a sentence: and that constitutes, in connection 
with the series of three descending radicals, the essential 
characteristic of the cadence. 

It was stated above, that each syllable of the current me- 
lody has a radical and vanishing tone appropriated to it. 
The parts of the cadence are not always so apportioned. 
Let us, for the sake of reference, designate the constituent 
concretes of the cadence, by their numeral positions. 

In the First form of the cadence, the first, second and 
third constituent have each a corresponding syllable, with a 
downward vanish on the last : as in the following notation. 

breath 



134 THE DIATONIC 

The second form has a similar appropriation of concretes 
to syllables ; with a downward vanish on each constituent, 
as : 

The air was fanned by un — num — ber'd plumes. 



gg 4 4 4~*^ 



In the Third form, the first and second concretes, or a 
concrete that occupies the conjoined intervals of the first and 
second, is allotted to a single syllable, as : 

With tur — ret crest and sleek en — am — el'd neck. 

4~4 4 4_JL 



In the Fourth form, the second and third coalesce on one 
syllable, as: 



The 




in~ 


not 


the 


name, 


I 


call. 




■ ■ ul S> 


df 










4 


4 


~^r 




4 





In the Fifth, the three constituents are appropriated to 
one long syllable, as : 



No, 


by 


the 


rood 


not 


so. 


^ 


4 


w 


-r 


4 




\ r v 



In the Sixth form, which should properly be called a false 
cadence, the second constituent is omitted, as in the follow- 
ing notation : 



Of 


wiles, 


more 


in ex — 


—pert, 


I 


boast 


not. 


4 






-*UC 


4 


4 


4 






4 




W 






^ . 



MELODY OF SPEECH. 135 

This takes place when the ultimate and penultimate sylla- 
bles of a sentence are each so short, that giving either the 
length of two conjoined concretes, would deform pronun- 
ciation. 

In this example, the proper triad should be made by a 
successive descent of three tones, on the words / boast not 
If from unskilful management of the voice, a reader should ne- 
glect to set the syllable boast with the radical pitch of a tone 
below /, he will be unable to complete the cadence, by the 
downward prolongation of the short syllable not, through the 
interval of two tones, as is done on a long syllable, in the 
fourth form of the cadence. But a full close cannot be made 
without the third constituent, or an extension of the second, 
by a downward vanish through its place : and as the syllable 
not, on account of its short time, is incapable of this last 
condition, the second constituent must be omitted, and a 
defective cadence made by a skip to the last place of the 
triad. 

From this analysis of the cadence, we have learned that 
its construction involves the consideration of the time of syl- 
lables. The first or triad form may be used under any con- 
dition of quantity; but if the three, or even the two last 
syllables should be short, and not admit of prolongation, it 
is the only applicable mode. The same remark may be 
made upon the second form. When the penultimate is long, 
the third form may be used ; and the fourth and fifth each 
requires a long quantity in the final syllable. 

Of the six described forms of the cadence, all except the 
last make natural and agreeable closes ; but the first and 
second, which proceed by an equal number of concretes and 
syllables are of the easiest execution. The third, fourth and 
fifth, which conjoin the intervals of two and three concretes 
respectively on a single syllable, require an unusual facility 
in the management of quantity. Skill in commanding the 
time of utterance, will enable an accomplished reader to 
perform with equal ease and elegance, these four varieties 
of cadence; and to give a faultless close, however unexpect- 



136 THE DIATONIC 

edly he may meet with a period in discourse : whilst the 
ordinary reader frequently fails in the melody of his cadence, 
from being limited to the use of its triad form. For should 
his current melody be so continued that a monotone or rising 
ditone reaches to the penultimate syllable, his cadence will 
necessarily be awkward or false. The last described form 
of the cadence, which is not uncommon with the mass of 
speakers, is strictly forbidden by the rule of a good com- 
position in melody. 

The fifth form of the cadence, which is made restrictively 
upon the last syllable, is distinguished by a peculiarity of 
function. It appears that the voice does pass downward 
through nearly the same extent of pitch, as when the cadence 
is made in the first or triad form ; but by this continuous 
descent the radicals of the second and third constituents are 
lost. Now it is the fulness of the radical which draws the 
attention of the ear, to the changes of pitch in the current 
melody ; and which conspicuously marks the descent of the 
triad at the close. The omission therefore of the radicals of 
the second and third concretes, lessens the impressiveness of 
the cadence, and suggests a twofold distinction as regards 
its effect on the ear. When made, as in the fifth form, by 
one downward concrete on the last syllable, it may be called 
the Feeble cadence : and the Full cadence, when the proper 
radicals of the other constituents are employed. The full 
cadence is delineated in the first and second forms noted 
above. When the reader can follow the notation, he will 
perceive a difference between the effect of these, and that of 
the fifth : he will admit too, that the second of the triad 
forms produces a more satisfactory feeling of repose. 

In the representations of the cadence, it appears, by mea- 
suring from the radical of the first constituent, to the ex- 
treme of the downward vanish of the last, that all the forms 
except the fifth, embrace the interval of a fourth. And 
though I have marked this last form, nominally, as a third, 
yet the feeble cadence may be made by an extension of the 
concrete, downward, to a fourth or fifth. Nor do I pretend 



MELODY OF SPEECH. 137 

to assert, that the downward concrete of the last constituent 
of the other forms, may not, on occasion, reach beyond the 
tone which is here allotted to it. I have assumed the inter- 
val of the third as the characteristic of the feeble cadence, 
because it is the smallest downward interval which has, in 
its place, the effect of a close. The nature, or, if I may so 
call it, the punctuative meaning of this Feeble cadence is 
such, that the ear allows a speaker either to pause or to pro- 
ceed in his discourse, after it. 

The proper construction of the cadence is of the first im- 
portance in the melody of speech. The triad, by possessing 
the peculiar characteristic of a close, and occurring more 
rarely than the other phrases, does more emphatically affect 
the ear; whilst its position at the end of a sentence, subjects 
it to a critical examination, through the opportunity of the 
subsequent pause. It is well known to those who have ob- 
served learners, that the proper management of the descent 
of the voice in reading, is acquired with difficulty, and often, 
not until long after the current melody is practicable with- 
out any obvious error. I have known offensive deviations 
from the true rule of the cadence, by actors of long practice 
and considerable skill, who would have guarded their utter- 
ance against the alleged faults, if their studies, instead of 
being compiled from imitation, had been directed by those 
principles, which well observed nature informs us should 
govern the high endeavors of speech. 

In the first section of this essay, the word key was de- 
fined — to signify, a certain arrangement of the constituents of 
the musical scale : and I now proceed to inquire with what 
propriety the term is applied to the melodial ranges of the 
speaking voice. 

The term key, as a generic appellation, means the proper 
succession of tones and semitones in the diatonic scale. It 
includes several species of a similar order of successions, 
carried on from each of the several places of the scale, as 
the beginning of those similar orders. It was shown that 
18 



138 THE DIATONIC 

there are twelve keys, founded on the semitonic divisions : 
within each of which, an air or melody may be restrictively 
performed ; with the regulated means, however, of conduct- 
ing that melody from one to another through the whole 
twelve. But an agreeable melody may likewise be made 
upon a progression of the scale, in which the places of the 
semitones differ from those of the progression, described in 
the first section. This gives rise to two different modes of 
the diatonic scale. In one a semitone lies between the third 
and fourth notes, and between the seventh and the octave, 
as taught formerly; constituting the kind of succession 
called the Major scale or mode. In the other, a semitone 
lies between the second and third notes, and the fifth and 
sixth in descending the scale, and between the second 
and third, and the seventh and eighth in ascending; form- 
ing the succession of the Minor mode. Now, as there are 
twelve points of the scale from which a diatonic series may 
be arranged, so there may be twenty-four keys: twelve 
constructed in the Major mode, and twelve in the Minor. 
A melody formed on the series of the latter, has a plaintive 
expression, arising from the peculiar position of the semi- 
tones. But we shall see hereafter, that the plaintiveness 
of speech is produced by an entirely different method of in- 
tonation. 

The melody of Music, whether in the major or the minor 
scale, is made by progressions, both of skips and conjoint 
degress, through the series of five tones and two semitones 
in any given key; and the song or movement, so con- 
structed, is terminated with entire satisfaction to the ear, 
when brought to a close on the first point of the series, 
which is called the key note. 

The melody of plain narrative or unimpassioned Speech is 
made by progressions of conjoint degrees only ; and its satis- 
factory close at a period of discourse, is effected by a descent 
of its radical pitch through three conjoint degrees, with a 
downward concrete from the last. The scale of the speak- 



MELODY OP SPEECH. 139 

ing voice has no interspersed semitones; nor is it limited, 
like that of music, to a peculiar arrangement of seven con- 
stituent intervals. When a person can speak distinctly 
through a compass of ten diatonic degrees, included between 
the lowest pitch of articulate utterance and the highest point 
of the natural voice, his melody may, by the use of proper 
conjoint phrases, be carried in the following manner through 
any wandering course of ascent and descent, within these 
boundaries. Let him take his first syllable on the first place 
of this supposed range. A ditone will raise the melody to 
the second, and an additional concrete, on that second place, 
will make the phrase of the monotone. From this, a ditone 
will lead him upwards to the third place ; and in like man- 
ner ascending, the melody may be carried to the tenth. 
Now from this utmost elevation, a falling ditone will 
bring him to the ninth: a monotone on this will prepare the 
voice for another ditone descent to the eighth. Having by 
a similar progress reached the third place, the triad of the 
cadence, or a falling tritone, with the downward concrete of 
its final constituent, will close the melody on the first. 

In this scheme, the melody is conducted formally up and 
down, in order to elucidate the means of changing the pitch, 
without the forbidden movement of several directly succes- 
sive rising or falling concretes. But it is due to remark that 
the rising tritone may also be used in ascending; that the 
progress may be varied by using, at will, a longer monotone, 
and by deferring the rise or fall, through the occasional em- 
ployment of a phrase of contrary movement. It is by avoid- 
ing an ascent and descent of more than three concretes in 
succession, that the desirable changes through acuteness and 
gravity in speech, may be effected in an easy and agreeable 
manner : for the beauty of melody consists, not only in skil- 
fully varying the order of phrases, as they move onwards, 
but likewise in correctly managing the rise and fall through 
the whole compass of pitch. The following notation shows 
the progress of the voice, through a compass of nine diatonic 



140 THE DIATONIC 

degrees : the rule of the rise and fall being observed, and the 
melody being therein agreeably diversified. 

If thou dost slan der her and tor — ture me, 



JT~ * * „ <-*-*=* 



Ne — ver 


pray 


more: 


a — ban— don 


all 


re morse ; 




ef d 


*T 


A 




4 


• «r 


— w V 


9 


^ 


*~&~® 









On 


hor — ror's 


head 


hor rors 


ac cu mu — late ; 




^ 


«r €f 


¥ 


€f & 












m € ^ 





Do deeds 


to make 


Hea-ven weep, all earth 


a— 


-mazed : 




-g- 


rfd :* * d 


4 


\ 


§f * 


& 9 


W — ~ -; 




v. 







For no-thing 


canst 


thou 


to dam na — tion 


add, 


4 


"• J * 


mT 


-r 


m ^ ^ ^ 




-" " " • ' W * 





Great er than that. 



The above notation is designed to exemplify exclusively 
the means for moving through the compass of the voice. If 
it were the place here to speak of the emphatic expression 
of this forcible passage, other modes of both the radical and 



MELODY OF SPEECH. 141 

concrete pitch would be used and explained. These points 
will be considered hereafter. At the two colon pauses, 
which in correct reading will not bear a full close, I have set 
the less conspicuous interruption of the feeble cadence. 

From the foregoing account of the musical and speaking 
scales, it may be learned, that though their respective con- 
stituent intervals and melodial progressions differ from each 
other, yet, as the several keys in music do designate different 
degrees of pitch, and as the expressive effect of the key-note 
resembles that of the cadence in speech, there would seem to 
be some similarity between them. For since in speech, the 
descent, from any point, of three degrees of radical pitch 
with a downward vanish at the last, always produces a ca- 
dence, and effects the ear, like the consummation of a key- 
note in music, — it follows that in a voice, with a compass of 
ten diatonic degrees, as above supposed, every degree, except 
the two highest, may be the place of what we will here call 
a key-note of speech : and consequently, by the nature and 
relations of a key-note in music, that this voice might be said 
to have eight keys. But there would be a difficulty in the 
specification of the keys of spoken melody, which could not 
be obviated. When a musical melody is said to be in a par- 
ticular key, the expression designates exactly the position of 
its key-note. But the melody of speech cannot be said, with 
precision, to be in any one key ; for it may be terminated 
by a triad of the cadence at any place of the scale. The 
constituents of the monotone are the only fragments of 
melody to which the doctrine of key could be applied, for 
they all have the same cadencial close. When a cadence 
is made on any of the other phrases, the triad which de- 
scends to a close from one of its constituents, must differ from 
the triad descending from another. 

Such being the fruitless purpose of attempting to designate 
the key of a single phrase, how much more indefinitely must 
a particular key be affirmed of a current melody, composed 
of a continually varying succession of phrases. Definitive- 
ness of key may be affirmed of the cadence, because the sue- 



142 THE DIATONIC 

cession of its radicals, and the place of its closing concrete, 
are unalterably fixed. Looking on the triad as determining 
the key, a particular key may be appropriated to each de- 
gree of the vocal compass ; and consequently the key of a 
current melody must perpetually change. When therefore 
any reference is made to the key in speech, the proper 
designation should be, by the plural term, keys of the 
melody. 

The peculiar series of tone and semitone, in the musical 
scale; the necessity for rules to govern the change from one 
series to another, together with the purposes of Concerting, 
and of Harmonic composition, led to the definite nomencla- 
ture and arrangement of musical keys. But a melodial pro- 
gression by a scale, formed exclusively of whole tones, — and 
the unaccompanied, or strictly solo-vocal office of speech, 
do not require any of the uses of Key : and the designa- 
tions of its melody, perhaps call for no nearer precision than 
that of a classification into the upper, middle and lower 
pitch of the voice. 

From this view of the speaking voice, it may be under- 
stood, why in the notation of its melody I have used only the 
staff of the musical tablature, without reference to its cliffs 
or its signatures. Cliffs are used in music for the purposes 
of Concerting ; by determining with precision the proper 
places of pitch for several voices or instruments, when mov- 
ing in accompaniment. They are therefore useless to the 
singleness of speech. The melody of speech being altogether 
diatonic, has no rule for constructing keys, arising out of 
the fixed places of the simitones, as in the musical scale. 
Consequently there is no need of prefixed signatures of flats 
and sharps: the naked lines and spaces of the staff, denoting 
the extent and relationships of pitch, afford sufficient means 
for illustrating the intonation of speech. 

The term modulation is used, in music, to signify the 
transitions of melody and of harmonic composition, from one 
key to another. The question of the propriety of this term, 
as significative of analogous changes in the melody of 



MELODY OF SPEECH. 143 

speech, is involved in the question of the propriety of the 
application of the musical term key to the mere variations of 
pitch in the speaking voice ; and we have seen the almost 
universal difference between the regular system of keys in 
music, and the melodial method of speech. 

The preceding remarks, on the musical and speaking 
scales, were intended to exhibit the relationships between 
their respective functions : but it appears from comparison, 
that there is no systematic analogy to justify the transfer of 
the terms key and modulation from music to speech. The 
transfer was, however, long ago made, and the terms are 
still continued under a total ignorance of the nature of the 
speaking scale. When the truth of the analysis, set forth in 
this section, shall be admitted, it will be obligatory on all 
those who take delight in accuracy of knowledge, to distin- 
guish, by appropriate names, those ideas which negligence 
will have suffered to pass as identical. If the musical terms, 
key and modulation, had not received an unmeaning admis- 
sion into the nomenclature of the speaking voice, the descrip- 
tion of its melody would not, in these last pages, have been 
complicated with the record of the waste work of investiga- 
tion, which the inquirer loves to expunge and forget, after 
he has made out the simple story of truth. And had the 
hitherto untried subject of melody been relieved from the 
consequences of its adopted nomenclature, the unargued and 
unbiassed history of its changes would have been given 
thus : — 

The melody of the speaking voice, may be led, ascending 
and descending, through its whole compass, by a succes- 
sion, exclusively of whole tones : and may be brought to the 
satisfactory close, heard at a full period of discourse, by the 
descent of radical pitch through three conjoint degrees, 
with a final downward concrete, from any point within the 
compass. 

If I have not here followed the preferred brevity, nor 
omitted the detail which produced the conclusion that the 
doctrine of key and modulation is not applicable to speech ; 



144 THE DIATONIC MELODY OF SPEECH. 

it was because I certainly anticipated the inquiries which 
the habit of nomenclature would suggest ; and because I 
chose, perhaps advantageously, to introduce into the re- 
corded investigation, some further or varied remarks on the 
melody of speech. 

In reviewing the subject just closed, I fear the described 
phenomena of sound, may not be immediately recognized, 
nor the system of their combination definitely compre- 
hended. The difficulties in this case may proceed not only 
from the inaptitude of the mind to embrace newly offered 
subjects of knowledge, but likewise from the connected sys- 
tem of such subjects being dimly arrayed before the very 
sense which was able to discover their insulated truths. 
The art of observation is but a matter of apprenticeship and 
practice ; and it is the time of employ, no less than the mode 
of handling, that produces the high excellence of a master. 
Thoughts which are not impressed by the deep sealing of 
time, nor familiarized by the near acquaintance of habit, are 
feeble or deluding agents in the arduous task of comparison 
and arrangement : for it will be found that the author who 
first institutes, or who renovates a science, rarely adds the 
clearest economy of system to his work. To look widely, 
yet closely, is the paradox of the powers of heaven : and he 
who can span the broad compass of a science, whilst he 
touches its divisions and points, is partially raised above the 
bounded prospects of humanity, by this humble tendency to- 
wards omniscience. To him is due that rich compliment by 
the sagacious Greek; who knowing upon what transcend- 
ent faculty to affix the crown of intellectual glory, declared, 
that — he who can arrange and define well, might be fit com- 
pany for the Gods. 



THE EXPRESSION OF SPEECH. 145 



SECTION VII. 



Of the Expression of Speech. 



In the preceding section, we learned the mode of utter- 
ance in plain narrative and description : comprehending 
under these terms that portion of discourse, which conveys 
the mere thoughts of the speaker, exclusively of those sen- 
timents or feelings which require a different form of melody 
and a higher coloring of intonation. Schoolmen make a dis- 
tinction between thoughts and feelings, and common usage 
has adopted their language. This is not the place for con- 
troversy on this point : nor is it necessary to inquire, deli- 
berately, whether the above distinction refers to the essen- 
tial nature of the things, or to their degrees. Some may be 
disposed to adopt the system that supposes thoughts and 
feelings to be various degrees of intensity in ideas : since 
that function which may be noted as a mere thought in one, 
has in another, from its urgency, and without apparent spe- 
cific difference, the bright hue of a feeling ; and since in the 
same person at different times, like circumstances produce 
according to the varied susceptibity of excitement, the men- 
tal condition of either a feeling or a thought. Perhaps it might 
not be a difficult or tedious task, to show that these states 
of the mind have many accidents in common ; and that no 
definite line of demarkation can be drawn between them. 
However inseparably involved these accidents may be, at 
their points of affinity, they are in their more remote rela- 
tionships, either in kind or degree distinguishably different. 
The effect of the voice in conveying these manifest pecu- 
liarities of sentiment or feeling, is called, in the language of 
Elocution, the Expression of speech. 
19 



146 THE EXPRESSION OF SPEECH. 

The classifications of science were instituted to assist the 
memory and imagination ; but while they fulfil the purpose 
of communicating and preserving knowledge, they unfortu- 
nately produce the undesigned hindrance of its alteration or 
advancement, by creating a belief of its systematic com- 
pletion. The numberless revolutions in scientific arrange- 
ments are full of admonitions : yet we forget how often the 
fictitious affinities and the distinctions of system, have on 
the one hand presumptuously united the real divisions of 
nature, and on the other, broken the beautiful connexion of 
the circle of truth. 

In submission to common phraseology and to the necessi- 
ties of instruction, I have, in this essay, separated the history 
of that part, which, for the want of a better term, was called 
the Simple Narrative of speech, from that which treats of its 
Expressive signs ; with the hope that future observation 
may determine their real relationships, by a full develop- 
ment of the nature of the mind and of the voice. For we 
may as well suppose all those works of usefulness are 
already accomplished, which are foretold by the scope of 
human faculties, as that the arts which employ taste, have 
yielded up all the accuracy of their principles, and their 
sources of enjoyment. Let us leave the seventh day of rest, 
to the holiday rejoicing of patriots and politicians, who look 
upon their disastrous creations, and cunning schemes for 
human misery, and pronounce them original and finished 
and good. Let them build strongly around the vaunted 
perfection of their Chartas and Constitutions. Let them 
guard the ark of a forefather's wisdom, and proclaim its 
unalterable holiness to the people, for the safety, honor and 
emolument of the keeper. The real creators of Knowledge 
have never yet found, and perhaps never will find, their day 
of rest : and the proud forefathers of all the great works of 
usefulness and of glory, are, by means of that same magic 
which raised their own extraordinary creations, transmuted 
to corrigible children in the eye of the advancing labor of a 
later age. 



THE EXPRESSION OF SPEECH. 147 

It has been alleged of the expression of speech, that the 
discrimination of its modes is beyond the ability of the 
human ear. If the term human ear is sarcastically used for 
that fruitlessly busy and slavish organ, which has so long 
listened for the clear voice of nature, amid the conflicting 
tumult of opinion and authority, we must admit the truth of 
the assertion. But it is not true of the keen, industrious, 
and independent exercise of the senses : nor can it be 
affirmed, without profanity, of that supreme power of ob- 
servation which was deputed at creation, for the effective 
gathering of truth, and the progressive improvement of 
mankind. 

Our conquests in knowledge must be the joint achieve- 
ment of numbers and time. Leaving then to futurity the 
completion of my design, I looked around for present assist- 
ance: and having often, with more need than hope, consulted 
the thoughts of others, on the analytic means of delineating 
the signs of expression, I generally received some query like 
this : — Is it possible to recognize and measure all those deli- 
cate variations of sound, which have passed so long without 
detection, and which seem scarcely more amenable to sense 
than the atoms of air on which they are made ? — It is possi- 
ble to do all this : and if we cannot find a way for this vic- 
tory over nature, ' let us/ — with the maxim, and in the con- 
triving spirit and resolution of the great Carthagenian Cap- 
tain, ' let us make one/ 

Jt will not be denied that the vocal movements, whether 
articulated or merely exclamatory, which constitute the 
expression of speech, may be distinctly heard; and that 
there is no liability to misapprehend, or to confound the 
varied sentiments which they respectively convey. No: — 
but it is objected, that the peculiar kind, the measured de- 
gree, and the commingling variety of those movements can- 
not be distinguished. Now since the vocal movements, in- 
clude all these points, and since our sentiments are so readily 
recognized under all their kinds, degrees and combinations, 
I leave it to those who make the objection, to ask themselves 



148 THE EXPRESSION OP SPEECH. 

— whether a full and clear discrimination of the signs of 
expression is not implied in that recognition. The truth is, 
— that the delicate voices of expression, though supposed to 
be inappreciable, are always distinctly heard, and so far as 
an unhesitating apprehension of their meaning may prove 
the assertion, are always measured in the strictest sense of 
the word: but they have never been named. And although 
all persons who are observant in this way, have nearly an 
aqually acute perception of the expression of speech, they 
have no language for designating those delicate discrimi- 
nations which are every day unconsciously made even by 
the popular ear. I propose to give, in the course of this 
essay, an analysis of vocal expression: to point out its 
modes, and to assign a definite nomenclature to them. 

There is perhaps no vain confidence in supposing, that 
the reader is now well acquainted with the properties of the 
radical and vanishing movement. This wide reaching 
function, and master principle of the voice, has been repre- 
sented under its varied phases, in speech, song and recitative. 
We have traced it in the literal elements : have seen its 
influence in directing the phenomena of syllables : and mea- 
sured its successions in melody. I have yet to show its 
instrumentality in the delicate work of expression : and if I 
shall be able thereby to resolve this marvellous mystery of 
nature, it will be by developing that greater marvel of 
agency, in which a strict economy of means is employed for 
the production of her infinities. 

The general affections of sound were described in the first 
section of this essay. In summary repetition, they are, — 
Quality, or kind of sound ; Time ; Force or the variations 
of strength and weakness ; Pitch or the variations of acute- 
ness and gravity ; and Abruptness. These distinctions are 
universally known. 

A delicate perceptibility may easily learn that each of these 
general affections is inclusive of many species, with their 
different degrees ; and that noticeable phenomena result from 
the combination of the different species of any one genus, 



THE aUALITY OF THE" VOICE. 



149 



with those of another. In the following series, some of the 
species, and their mutual combinations, are enumerated by 
the adopted or the invented terms, under which they will be 
hereafter more particularly described. 

Wave, 
Tremor, 



Quality, 

Time, 

Melody, 

Pause, 

Grouping, 

Aspiration, 

Octave, 

Fifth, 

Third, 

Semitone, 

Downward Concrete, 



Force, 

Radical stress, 
Median stress, 
Vanishing stress, 
Thorough stress, 
Compound stress, 
Loud Concrete, 
Accent, 
Emphasis. 



These are some of the heads of arrangement, devised for 
the purpose of opening the way for a fuller and more definite 
account of expression : and I hope the reader will find, in the 
detailed consideration of this subject, some approximation 
towards the development of this interesting department of 
speech. 



SECTION VIII. 

Of the Quality or Kind of Voice. 



The Qualities of voice employed as the means of ex- 
pression, are those of the Whispering, the Natural, the 
Falsette and the Orotund voices : and those varieties em- 
braced by the common nomenclature of harsh, hoarse, 
rough, smooth, full, thin and musical. 



150 THE aUALlTY OF THE VOICE. 

There are certain conditions of thought, instinctively asso- 
ciated with appropriate species of these qualities. The 
whisper always denotes the intention of secrecy : the falsette 
is used for the emphatic scream of terror, pain and surprise : 
and the orotund voice alone gives satisfactory expression to 
the feeling of dignity and deliberation. The natural voice 
is accommodated to the moderate or lively sentiments of 
colloquial dialogue, and of familiar reading. It is not ne- 
cessary to particularize here, the sentiments which call 
respectively for the harsh, full, and feeble quality of the 
voice. The history of their specific appropriation, in the 
art of reading, may be satisfactorily learned from the books 
of professors. 

Regarding these qualities a§ distributed among mankind, 
some voices are restricted to harshness, or to feebleness. 
Few persons have by nature, a pure orotund. Some speak 
altogether in a meagre falsette: and women are apt to use 
it in careless pronunciation. There are, however, few voices 
which may not, by diligent cultivation, be made capable of 
exhibiting all the above named qualities. 

The elements of expression derived from, the kind of voice, 
are not to be regarded solely in the simple and insulated 
light in which they are here represented. They are suscep- 
tible of combination with the various modes and degrees of 
force, time, pitch and abruptness. In short, Quality of 
voice must necessarily be united with some of the modes of 
the other genera. For whatever be the kind, it will be 
either strong or weak ; its time must be long or short ; its 
emission will be abrupt or gradual, and it must be of some 
definite radical or concrete pitch. Certain qualities of the 
voice are, however, exclusively congenial with particular 
conditions of these other accidents : thus smoothness will 
more generally affect the moderate degrees of force. Similar 
congenialities may be discovered by the slightest reflection. 

It would be easy to select from authors and from familiar 
discourse, phrases or sentences that require respectively the 
kinds of voice here enumerated. But I designed originally, 



THE TIME OF THE VOICE. 151 

to limit the pages of this work, consistently with the inten- 
tion of definite description ; aiming to make known the hith- 
erto untold elementary principles of speech, rather than to 
add to the present excess of compilation. There is no mode 
of diagram that can represent these qualities of sound : and 
every attempt to make them plainer than they already 
stand, in their metaphorical designation, would be without 
success. 



SECTION IX. 

Of the Time of the Voice. 

The degrees of duration of the voice, represented by the 
terms long, short, quick and slow, are among the most effec- 
tual means of expression. 

To be definite, let long and short designate the time of 
syllables relatively to each other ; and let quick and slow 
refer to the utterance of any series or aggregate of words. 
Thus a syllable may be said to have a long or short time, or 
Quantity, as it is usually called in this case; and a phrase, 
an entire sentence or a larger portion of discourse may be 
said to be pronounced in quick or slow time. The occasions 
for employing these last modes of time are well known. Sen- 
timents of dignity, deliberation, doubt and grief affect the 
slow time ; those of gaiety, anger, and eager argument, to- 
gether with parenthetic phrases, assume the quick time in 
utterance. 

It is necessary, however, to be more particular on the 
subject of the length and shortness of individual syllables, 



152 THE TIME OF THE VOICE. 

comparatively considered; and to extend the analysis some- 
what beyond the reach of ordinary prosodial distinctions. 

The times of syllables exhibit undistinguishable shades of 
difference, from the shortest utterable, to their utmost pro- 
longation in oratorical expression. In order to reduce this 
indefinite view of time, to such distinctions as may serve for 
future reference, let us arrange syllables under three classes. 
Let' the First embrace those which are fixed to the shortest 
quantity : the Second, those fixed or nearly so, to a quantity 
of somewhat greater duration than than of the first : the 
Third, those which in common pronunciation, are of various 
lengths, from the shortest to the longest, but which may be 
indefinitely extended. 

To the First class belong many of those syllables termi- 
nated by an abrupt element ; and containing a tonic, or an 
additional subtonic, or the further addition of an atonic, 
such as at, ap, ek, Aap-less, pit-fall, ac-cep-tance. It is 
not the shortness alone of syllables which constitutes the 
criterion of this class ; since some that belong to the third, 
may be, and sometimes are, in common usage, equally short. 
The syllables now under consideration, have this essential 
characteristic, — they cannot be prolonged, but with de- 
formed pronunciation The word convict, when accented 
on the first syllable as a noun, and on the last as a verb has, 
in each case, in plain orthoepy, a certain quantity allotted to 
the accented syllable. If, for the purpose of oratorical ex- 
pression, with the noun, the time of the first syllable is inde- 
finitely increased, the identical character of the word still 
remains, notwithstanding that prolongation. But when we 
give the last syllable of the verb, a similar extension, its 
pronunciation, is, through the drawling utterance, remarka- 
bly deformed. The syllables assigned to this first class, not 
admitting of any alteration in quantity, may be called Im- 
mutable syllables. I shall hereafter show their relations to 
the movements of pitch, and to the functions of accent and 
emphasis. 

To the Second class belong most of those syllables which 
terminate by an abrupt element, and which contain one or 



THE TIME OF THE VOICE. 153 

more subtonics or atonies, in union with a short tonic. The 
subtonics in this case give a greater length than belongs 
to syllables of the preceding class ; while the abrupt ele- 
ment and the short tonic prevent an indefinite prolongation. 
Of this class are yet, what, mate, grat-itude, des-truc-tion. 
In these instances the syllables are longer than those of the 
immutable class ; and for the purpose of expression, the sub- 
tonics may be slightly extended beyond their natural length, 
in simple utterance. But should they be unduly prolonged, 
something of the same offensive drawl of pronunciation will 
be perceived, which is experienced in the greatest degree 
from the forced extension of the immutable class. As those 
included under the present head admit of some change of 
quantity, they may be called Mutable syllables. 

To the Third class belong all those syllables which termi- 
nate with a tonic element, or with any of the subtonics, 
excepting b, d, and g. Of this nature, are go, thee, 
for, day, man, till, de-lay, be-guile, ex-treme, er-ro-ne- 
ous. If the speaker has a ready command over the subto- 
nics b, d, and g, so as to give full audibility to their essen- 
tial guttural murmur, their position, at the end of a syllable, 
does not absolutely prevent an indefinite prolongation, as in 
the words deed, plague, babe, res-tored. But the effect in 
these cases is by no means to be compared with that of an 
extension of time upon tonics and other subtonics. In the 
above pure examples of this class, it will be found, that to 
whatever necessary degree the quantity may be prolonged, 
the character of the syllable will still be preserved, without 
any of that disagreeable effect, which is produced by an 
indefinite increase of time, under the preceding classes. It 
is the peculiar nature of these syllables, that they seem 
to be the same under every degree of duration ; while the 
immutable and mutable, in some cases almost lose their 
identity by too great an addition to their time. From their 
allowable variety, the syllables of this class may be said to 
be of indefinite quantity ; and may be called Indefinite syl- 
lables. They furnish important means for the expression 
20 



154 THE TIME OF THE VOICE. 

of speech ; some of its most effective forms, as will be shown 
hereafter, being made on syllables which admit of this inde- 
finite prolongation. 

I do not desire the reader to receive the foregoing classifi- 
cation, as one that should exclusively govern his view of the 
syllables of our language. The investigation of the causes 
of expression very soon suggested to me the necessity of 
other distinctions of quantity than those of long and short ; 
which, after a millennium and more, of pretending observa- 
tion, we continue to transcribe from the record of the mea- 
ger analysis of Greek and Latin prosody. The phenomena 
of expression directed the divisions here made ; and the pro- 
priety of them, on this ground, may perhaps be hereafter 
acknowledged. However short of universality this proposed 
system may reach, even its limited arrangement will be 
necessary for the explanation of future parts of this essay : 
and whatever may be thought of its sufficiency, I must still 
believe it is high time for the superannuated sages of classi- 
cal literature to throw aside the Greek and Roman specta- 
cles, in their prosodial researches ; and to try if time, with 
his new lights, may not have wrought upon them, one of 
those renovations of sense, which have now and then resus- 
citated the torpid perceptions of extreme longevity. 

The power of giving indefinite prolongation to syllables, 
for the purpose of expression, is not commonly possessed by 
speakers. It is true, the daily use of the voice frequently 
calls for forcible expression: but daily discourse is generally 
that of mere narration or description ; or if directed by 
strong emotion, its sentiments are those of active argument, 
or of contending interests, both of which employ, for the 
most part, the short time of syllables, and the quick course 
of utterance. Still the assertion, that a long quantity is 
not easily practicable, may seem to be inadmissible : since 
all who are able to sing, protract their notes to an indefinite 
length ; and there is no person who does not utter interjec- 
tions and cries in the same manner. But the mode of pro- 
longation here alluded to, is that made upon the equable 



THE TIME OF THE VOICE. 155 

concrete of speech. Three modes of the radical and vanish- 
ing movement were formerly described as respectively used 
in speaking, and in song, and recitative. Without having re- 
gard to the nature and uses of these three functions, it is not 
easy to restrict them to their appropriate places. A reader 
who has not from practice, a facility in executing the pro- 
longed quantity of speech, will be liable, in extending his 
syllables, to fall into the protracted radical or vanish of 
song. When persons of imperfect ear, and without a sing- 
ing-voice, by accident observe, remember, and endeavor to 
imitate the melodial succession of an air, they are apt to 
utter many of its notes, in the equable concrete of speech. 
Protracted cries, and interjections, which are only more 
moderate cries, are always made either by the note of song, 
or by a mode of pitch, to be called hereafter the Wave, or 
by movements through the wider intervals of the scale: and 
though these intervals, and the wave are both proper to 
speech, yet the prolonged voice in such cases is the forced 
effect of passion, which not operating to this degree, on the 
ordinary occasions of reading and speech, the cause is not 
habitual, and the practice not confirmed. 

The foregoing notice of the exclusion of the peculiar in- 
tonations of song and recitative from speech, furnishes one 
reason why those persons who possess high accomplishments 
as singers, are nevertheless indifferent readers or common 
place actors. I shall, in a proper place, endeavor to show 
other reasons for the general want of interchangeable 
facility, in the exercise of the arts of song and speech. That 
to which I now allude, and which arises from the different 
structures of the radical and vanish in the two cases, is not 
the least influential. The endowed singer may have at 
command all the means of expression which are used in 
song. But these are not transferable to the equable con- 
crete of speech ; and while he is able to clothe every senti- 
ment of the composer, his attempts at recitation, strip off or 
tear to pieces, every feeling of the poet. 

But to return from this account of the nature of the con- 
crete, to the consideration of the uses of its varied quantity. 



156 THE TIME OF THE VOICE. 

The immutable, mutable, and indefinite times of syllables, 
have their appropriate mode of fulfilling the purposes of 
expression. But the opportunity which an indefinite time 
affords for producing some of its higher effects, must be 
regarded as of the very first importance in speech. This 
subject will be illustrated in future parts of this essay. 
Readers who are ignorant of the principles of quantity, are 
yet aware of the necessity of a deliberate movement, for the 
expression of certain sentiments. They, therefore, endeavor 
to supply the deficiency of their power over the long con- 
crete, by slight pauses between words, and even between 
syllables. But nature and good taste allow no compensa- 
tion of this sort : they require most of that prolongation of 
time which characterises dignified expression, to be spent 
on the syllable itself, and reject every other mode as offen- 
sive monotony or as affectation. 

Eminent instances of the essential importance of long 
quantity may be shown, by considering some existing de- 
fects in the syllabic construction of sentences with reference 
to expression: for since the display of certain sentiments 
requires the prolonged time of indefinite syllables, it may hap- 
pen that such sentiments are to be expressed on the limited 
duration of a mutable, or the mere moment of an immutable 
syllable. I here illustrate my meaning by a passage from 
the fourth book of Paradise Lost, where Satan is brought 
before Gabriel. In the dialogue between them, one of the 
replications of Satan is as follows : — 

1 Not that I less endure, or shrink from pain, 
Insulting angel ! well thou know'st I stood 
Thy fiercest, when in battle to thy aid, 
The blasting vollied thunder made all speed, 
And seconded thy else not dreaded spear. 
But still thy words at random, as before, 
Argue thy inexperience what behoves 
From hard assays and ill successes past 
A faithful leader, not to hazard all 
Through ways of danger by himself untried : 
I, therefore, I alone first undertook 
To wing the desolate abyss, and spy 
This new created world, whereof in Hell 



THE TIME OF THE VOICE. 157 

Fame is not silent, here in hope to find 
Better abode, and my afflicted powers 
To settle here on earth, or in mid air ; 
Though for possession put to try once more 
What thou and thy gay legions dare against ; 
Whose easier business were to serve their Lord 
High up in Heaven, with songs to hymn his throne, 
And practis'd distances to cringe, not fight? 

I have marked in italics, the words on which an indefinite 
quantity is required for the full measure of expression. The 
word insulting, when interpreted by the context, contains 
the mingled indications of complaint, pride and reproach; 
and these require a form of pitch to be mentioned here- 
after, which is made with a long quantity, and which con- 
sequently cannot be here employed with satisfactory ex- 
pression on the emphatic syllable suit. This syllable be- 
longs to our class of mutables, and cannot be prolonged 
to the necessary degree, except by extending the natural 
time of the monothong e-rr, which is here represented by u; 
or by drawing out the subtonic I ; either of which modes 
would deform pronunciation. The second instance, marked 
in the mutable syllable dread, contains a declaration of 
slight contempt ; and this, I shall say hereafter, requires a 
form of expression which calls for a duration of voice not 
allowed by the natural quantity of the syllable. The last 
marked phrase of the foregoing passage affords a more con- 
spicuous illustration of the subject before us : for of the words 
wo* fight, the first is mutable, and the last which is strictly 
immutable, does not admit of prolongation, without a dis- 
gusting departure from correct pronunciation. Now the 
sentiments of this phrase are those of strong contempt, and 
of exultation, the expressive symbol of which must be made 
upon an indefine time. A reader of discernment and deli- 
cate feeling can never satisfy his ear on these words. 

To a bad reader, nearly all sentences are alike, how- 
ever improperly constructed for applying the modes of ex- 
pression. Whilst he who looks abroad for excellence, through 
all the ways of the voice, must often find the tendencies of 



158 THE TIME OF THE VOICE. 

his utterance in regard to time, restricted by the unyielding 
nature of an immutable phraseology. A humble exercise of 
art, and the common uses of quantity suffice to set forth the 
sense of an author ; but the picture of passion, will be in 
many cases imperfect, if made on the short time of syllables. 
A reader who can assume the spirit of the poet, will not be 
able to give the prompted expression to part of the last line 
of the following passage. It is taken from Gabriel's answer, 
to Satan's apology for his flight from Hell, just quoted, and 
is a comment on the title of faithful leader, vaunted by 
Satan. 

O name, 
O sacred name of faithfulness profan'd ! 
Faithful to whom 1 to thy rebellious crew 1 
Army of Fiends, ^ body to Jit head. 

The six syllables of this last phrase are short, and all the 
emphatic ones are immutable. They contain a degree of 
admiration at the well marked fellowship between a ring- 
leader and his crew, mingled with scorn at the wicked faith- 
fulness of the rebellious outcast : and these sentiments, we 
shall learn hereafter, cannot be eminently shown on the 
abrupt shortness of the syllabic time here employed. With 
an accomplished speaker, the management of this phrase 
would be like the efforts of a musician of feeling and skill, 
on a limited instrument : and the different effect of his voice, 
on the above short syllables, and on indefinite quantities, 
embracing the same sentiments, would be like the effect of 
the inexpressive chattering of the harp or piano-forte, com- 
pared with the rich resources of intonation in the vio- 
loncello. 

The abrupt and atonic elements produce, in discourse, 
many instances of syllabic construction that hamper ex- 
pression : But perhaps the greater number o" sentences 
admit of the modes of quantity which their sentiments 
require. For it is not absolutely necessary that every word 
should join in the expression. One or two well accommo- 
dated quantities sometimes sufficiently convey the character 



THE TIME OF THE VOICE. 159 

of the sentence. The syllable Par of the following line has 
a natural quantity, which, without impropriety, may be 
doubled or more in expressive utterance ; and the same may 
be said of bleed. 

Pardon me thou bleeding piece of earth, 

That I am meek and gentle with these butchers! 

The circumstances of the scene in Julius Ccesar, from 
which this is taken, inform us that Mark Antony's senti- 
ments, expressed in the first line of the passage, are those of 
love, grief and contrition ; his feeling of revenge does not 
appear until the second line. Those sentiments, it will be 
shown hereafter, call particularly for an extension of sylla- 
bic time : and we here regard the words pardon and bleed- 
ing as emphatic, since they respectively picture the special 
object of the suppliant, and the disastrous assassination, 
which, with self reproach, he had delayed to punish. Now 
the accented syllables of these words admit the prolonged 
concrete ; and the employment of the proper expression on 
them alone, spreads the coloring of that expression over the 
whole of the sentence. 

In the preceding illustrations, the reader may discover 
some ground for an arrangement of syllables, according to 
their time, and in reference to the subject of expression. 
But there is another view to be taken of syllabic quantity. 
We know that from the restricted resources of language, the 
same word has, in different sentences, a varied meaning. It 
is still more common to find the same word imbued with a 
different sentiment, in its changeable combinations with 
other words. Now as some sentiments are only properly 
represented by a short and abrupt utterance, it follows that 
a word or syllable, which on one occasion frustrates the 
designs of feeling by resisting the required prolongation, 
may in another place fulfil the purpose of expression on its 
immutable quantity. It was shown in an example, that the 
word fight was incapable of the extension necessary for the 
full display of the sentiment of scorn. When Hamlet in the 
violent scene with Laertes says, 



160 THE TIME OF THE VOICE. 

Why, I will fight with him upon this theme, 
Until my eyelids will no longer wag : 

the quick time of the whole sentence is generically inclusive 
of the short time of its constituent syllables : and the immu- 
table quantity of the word fight admits of that abruptness 
and force of accent which fully denote the mad but resolute 
rage of the prince. 

Interjections are the only part of speech employed exclu- 
sively for the purposes of expression. Those which are 
common to all languages, consist of tonics, that freely admit 
of indefinite prolongation. Interjections are the instincts of 
the animal voice ; and nature has allotted them that extendi- 
ble quantity which is adapted to the demands of feeling. 
Other parts of speech are sometimes the pictures of mere 
thought, and sometimes of sentiment: and so it happens that 
there is a difference in the time of syllables : For had words 
been invented as signs of feeling only, most of them would 
have been made with a prolonged voice. Now since the 
tonic elements may be uttered either as long or as short 
quantities, and since the abrupt and atonic, in certain posi- 
tions, necessarily produce short time, it might be inferred 
that a language which consists entirely of tonic sounds, 
would be better suited to all the purposes of the voice, 
than a language which contains elements productive of 
immutable quantity. But some sentiments are well repre- 
sented by a short quantity and sudden . issue of voice : 
and the abrupt elements are, in some of their positions, 
merely the best contrived means for producing that sud- 
denness with the greatest variety and force. * And fur- 
ther, the atonies, though not in their own nature explo- 
sive, yet arrest the concrete progress of vocality, and thus 
allow a succeeding tonic readily to take on the abrupt open- 
ing. A language made up of sounds, having the qualities 
of our tonic, subtonic, atonic, and abrupt elements, is well 

* Those who delight in searching for undiscoverable things, may institute an 
inquiry, whether the abrupt elements derive their existence in language, from 
the suddenness which anger and other violent passions assumed, in instinctive 
utterance, at that nonentity of date, the origin of languages. 



THE TIME OF THE VOICE. 161 

accommodated to the system of those expressive signs, 
which nature has ordained throughout all vocal creation. 

The design of employing the prolonged time of the voice, 
in the emphatic places of discourse, with a view to expres- 
sive intonation, seems never to have been thought of by ordi- 
nary writers: and it has been so far overlooked in the schools, 
that it has never received formal notice either in Rhetoric or 
in Elocution. Dramatists, to whose taste and duty this re- 
mark is especially applicable, frequently neglect that proper 
adaptation of time, which would afford an Actor the means 
of adding the finishing touches of his voice, to the vivid and 
forcible picture of poetic composition. 

The judicious use of the variations of time is the very life 
of recitation, and the right hand of the rythmus of poetry 
and prose. 

The human ear has cognizance of two kinds of proportion 
in the successions of sound: one embracing the relationships 
of its forces, the other of its durations. 

The First consists in the perception of impressions of un- 
equal force alternately successive. Of this there are many 
species, derived from the order of succession, or the number 
of the varied impulses; as exhibited in the following illustra- 
tion: where the first species shows a heavy impulse followed 
by a lighter one ; the second, one heavy followed by two 
lighter; the third and fourth being respectively the reversed 
order of the other two. 



The Second kind of proportions consist of perceptions of 
the different duration of two or more sounds. Of these there 
are species, arising from the relation of long and short, and 
from the order of succession; as in the following illustration: 
where the first is meant to represent a sound of given du- 
ration followed by one of half or lesser fraction of its time ; 
the second shows a given time followed by two shorter ; the 
21 



162 THE TIME OP THE VOICE. 

third and fourth being respectively the reverse in order of 
the times of the first and second. 



The reader can audibly illustrate these schemes, by any 
means of making sounds of different force and duration. 

We can reach no further in the investigation of this sub- 
ject, than to know that the measurement of these proportions 
is an agreeable exercise to the ear : and that we are more 
pleased with varied percussions and durations of any me- 
chanical sounds, that have these or other symmetrical ar- 
rangements, than with one unvaried succession of similar 
percussions or times, except regular pauses be interposed 
between them; as in the following notation: where the space 
of a pause is represented between a series of two, and of 
three similar sounds. 

m® $# ## 8 mm® mmm mm® 

Now as the voice has the power of this momentary per- 
cussion, and as syllables have different degrees of duration, 
both of the above forms of succession in the force and time 
of sound may by applied to speech. The perception of the 
former is called Accent, and that of the latter Quantity. 
To him who has equally exercised his ear in these two 
modes of measurement, that which consists in the alter- 
nations of quantity is by far the most agreeable. For, in 
the first place, no momentary sound or mere ictus, is musi- 
cal ; whereas the prolonged sounds of quantity may be so. 
Secondly, if the perception of equal momentary sounds, with 
pauses between the given aggregates, — or of unequal mo- 
mentary sounds, alternately continued, is agreeable, the 
alternate order of differing quantities must be more so. For, 
quantity may be made to include the accentual function ; 
since the forcible ictus of accent may be applied to the 
beginning of a prolonged syllable : and pauses may be inter- 



THE TIME OF THE VOICE. 163 

posed between aggregates that make up the successions of 
quantity. 

The above view regards brute sound only. When quan- 
tity is considered as susceptible of expression, its claims over 
accent are incalculable. 

The preceding remarks on the quantity and accent of lan- 
guage, have reference especially to the use of the voice in 
reading verse: since a principal cause of the difference be- 
tween a good and a bad reader therein, lies in the varied 
degrees of ability to command the accent and quantity of 
syllables. 

It may be supposed that I allude to the Latin and Greek 
languages, when speaking of the quantity of verse. No, I 
refer to the English language, and to the partial, though 
unsought use of quantity, which at present prevails in its 
measure: and I wish further to intimate my anticipation of 
the future construction of its versification, on the sole basis 
of quantity; if the scholastic formalists of literature can be 
made to believe that the subject of ancient prosody has, for 
ages past, been exhausted; that the labors of wrangling com- 
pilation, are inferior to the works of inventive improvement, 
and that the investigation of their own respective languages 
may produce for them the first births of genius, and the con- 
sequent undivided heritage of fame. 

About the time we are taught to measure the syllables of 
Virgil, by the relations of long and short, we are told that 
the genius of our own tongue does not admit of the rythmus 
of quantity — that English prosody, together with that of 
other modern languages, is restricted to the use of the alter- 
nate strong and weak percussion of accent. For the sake 
of the general principle in some important matters, we do 
well perhaps to rely implicitly, for a time, on the instruction 
of our teachers ; but many find reason to regret the necessity 
of this confidence in particular instances. From the finely 
governed and varied quantities of Mrs. Siddons, I first learned, 
by beautiful and impressive demonstration, that the English 
language possesses similar, if not equal resources, with the 



164 THE TIME OF THE VOICE. 

Greek and the Latin, in this department of the luxury of 
speech : and I thus found myself indebted to the Stage for 
the opening of that source of poetical and oratorical pleasure, 
which the more solemn pretences, and the hack instruction 
of a College, either knew not or disregarded. It was whilst 
listening to the recitation of this surpassing Actress, that I 
first felt the want of that elementary instruction which 
would have enabled me to see through the whole of her excel- 
lence. I could not, however avoid learning from her in- 
stinctive example, what the appointed elders of my education 
should have taught me, — that one of the most important 
means of expressive intonation consists in the extended time 
of syllabic utterance. 

I must not be understood here, as asserting that the quan- 
tity of English syllables has not been recognized by pro- 
sodians ; or that its beauty has not been felt by a good ear, 
wherever it has been well used accidentally, in English 
versification and in the well adjusted syllabic successions of 
prose. I mean to convey a regret that its powers have been 
undervalued; that it has been thereby excluded from its 
place in elementary rhetorical instruction ; and that the ear 
has thus been deprived of one of its highest prerogatives of 
perception, in poetry and speech. 

We may very reasonably ask whether a classical scholar 
is gravely in earnest, or only vain of a college livery, in de- 
claring his enjoyment of Greek and of Latin rythmus, whilst 
he is ignorant of similar resources of neglected quantity, in 
his own language. The Greeks and the Latins have left us 
their grammar, their written words, syllables, and elements; 
but our uncertainty of the true voice of these elements in 
their several combinations, has given rise, among modern 
nations, to a difference in the pronunciation of them. As- 
suming the English mode, the subject of Greek and Latin 
quantity may be resolved into these simple principles. Long 
syllables, or the temporal effects of long syllables, are made 
in two ways : First, by the absolute duration of syllables, 
constituted in the manner of those we called indefinite: 



THE TIME OF THE VOICE. , 1 65 

Secondly, by such as were called immutable and mutable, 
followed by a pause ; the time of pronunciation added to 
the time of the pause, being equal to a long syllable. Short 
syllables are made by the short-timed pronunciation of in- 
definite syllables, or by immutable ones. Now there is no- 
thing in this account of ancient quantity, which is not true 
of the English language. 

But further, not only are these general principles of sylla- 
bic construction the same in Greek, Latin, and English, but 
the very syllables themselves are common to these three 
languages ; nay, we may say to all languages. If the reader 
will run over any or every line of Homer and of Horace, he 
will find very few syllables that do not form the whole, or 
part of some word belonging to his own tongue ; both as 
regards the elemental sounds, and the most exact coinci- 
dence of quantity. But it is on the nature of syllables 
alone, that the doctrine of quantity is founded, in every lan- 
guage. When, therefore, we deny that the genius of the 
English tongue admits of the temporal measure, we must 
come to this absurd conclusion, that identical sounds have, 
in Greek type, the most finished fitness for quantity, and 
in English have none at all.* 

* That this may not be regarded as an exaggerated conclusion, I give the fol- 
lowing substantial support to it. In the chapter on versification, in Baron Biel- 
feld's ' Elements of Universal Erudition,' after many remarks on the subject of 
ancient quantity and modern accent, which in nowise qualify the following extra- 
ordinary assertion, the author says — ' Properly speaking, there are not, there- 
fore, in modern languages, any sensible distinctions of long and short sylla- 
bles, but many that are to be lightly passed over, and others on which a strong 
accent, or inflection of the voice, is to be placed.' This was written towards the 
close of the last century, by the ' Preceptor to a European Prince, and the chan- 
cellor of all the universities in the Prussian dominions.' Even before his time, 
some prosodians were not without the sense of hearing ; and though, since the 
epoch of his deep deafness, the existence of long and short syllables in modern 
languages has been generally admitted, yet it is still held to be impossible to make 
agreeable measure out of their relations. 

In candor, it should be stated that the Baron was a compiler ; but such writers 
generally represent current opinions, and they always know more of books and 
other men's notions, than is either known or coveted by original observers and 
autocrats in thought. 



166 THE TIME OP THE VOICE. 

The remarks here made, refer principally to the sound of 
syllables separately considered. There may be some differ- 
ences in the several words of these languages, that may 
render it easier to construct a rythmus of quantity in one 
than in another : but we speak now of the admission of the 
system of quantity into English, and not of the comparative 
ease of its execution when adopted. There may be some 
facilities in the Greek for certain kinds of measure, arising 
out of the greater length of the generality of words in this 
language. The Greek has certainly an advantage over the 
English in some of the purposes of vocal expression and 
poetic quantity, by its having a greater number of indefi- 
nite syllables, and by its making less use of the abrupt ele- 
ments, in those positions which produce an immutable time. 
Greek syllables have, in general, fewer letters than English; 
and they more frequently end with a tonic element. 

The employment of quantity, in the composition of Eng- 
glish prose writers, produces portions of the regular mea- 
sure of Greek and Latin lines. If these occasional pas- 
sages of temporal rythmus are well accommodated to the 
genius of the English language, I do not see why the studied 
contrivance of a poet might not use those existing quanti- 
ties, in the continued course of verse. The following sen- 
tence has not the accentual form of any of our established 
metres, and is therefore, in its rythmus, purely English 
prose : — Rome, in her downfall, blazoned the fame of barba- 
rian triumphs. This sentence derives its impressiveness, 
from the position of its long and short quantities. Now the 
position is exactly that of a Latin and of a Greek hex- 
ameter line, as may be seen by comparison. 

Dactyl Spondee Dactyl Dactyl Dactyl Spondee 



Ev tPiTTj | <ri £aar \ ?vgi a. \ g»go<n | magoe o \ trrot 

Si nihil | ex tant | a supe | rls placet | urbe re | llnqui 

Rome in her | downfall | blazon'd the | fame of bar | barian | triumphs. 

If this last sentence should be read with its proper pauses, 
and with deliberate pronunciation, it will correspond in 



THE TIME OF THE VOICE. 167 

measure with the long and short times of the superscribed 
Latin and the Greek. Let us not, however, think it strange, 
for anticipation takes off the edge of surprise, if a classic 
scholar should deny the identity of its temporal impression, 
with that of the collated lines. We are so little accustomed 
to regard English syllables in reference to their quantity, 
that it is difficult, at first, to make it even a subject of auri- 
cular perception. For he who, according to vulgar persua- 
sion, believes that there is an openness in the senses to 
receive all the objects which are brought near them, greater 
than that which exists in the mind for the reception of new 
subjects of reason or reflection, plainly indicates that he has 
overlooked the ways and powers of both the senses and the 
mind ; since the senses have equally their ignorance, obsti- 
nacy, and prejudice ; they equally, see what has been seen, 
and for a long time can see no more. A highly cultivated 
eye and ear are as rarely found as a well disciplined mind ; 
and a wise master, in human policy and morals, would not 
find more difficulty, where interest is not inimical, in effect- 
ing his designs of melioration, than an original observer in 
physical science would experience from the mass of the 
world, upon soliciting an immediate assent to the reality of 
the most manifest development of nature, or the most useful 
inventions of art. It is a passive and an easy thing to look 
and to listen : but, with a spirit of intelligent inquiry, it is a 
labor of wisdom to see and to hear. 

In speaking of the indefinite syllables of the English lan- 
guage, it was said that their time might be varied without 
blemish of pronunciation ; and it was formerly shown, that 
the abrupt elements, which generally terminate immutable 
syllables, have necessarily, after the occlusion of their sound, 
a pause that allows an immutable syllable to hold the place, 
and fulfil the function of a long one. With these legitimate 
materials for the construction of a temporal rythmus in Eng- 
lish versification, nothing but deafness or prejudice, pre- 
vents our perceiving that its institution has been strongly 
prompted by nature, and is already half established in our 



168 THE TIME OF THE VOICE. 

poetry. We allow a reader full liberty over the quantity 
of syllables, for the sake of expression in speech ; and song 
employs the widest ranges of time on tonic sounds ; why 
should we refuse to the measure of poetry a less striking 
departure from the plain pronunciation of the language. 

Mr. Sheridan, who does not overlook the existence of 
quantity in the English language, and its use in the ex- 
pression of speech, but who, nevertheless, maintains that the 
genius of our tongue is exclusively disposed to the accentual 
measure, seems to ground his opinion, on the special rules of 
Greek and Latin prosody, not being applicable to the phe- 
nomena of varying time in English pronunciation. He 
might as fairly have concluded that the good English style 
of his own lectures could not be as perspicuous as a Latin 
construction, because his natural mode of arrangement, is 
different from the appropriate inversions of the latter tongue. 
The broad inquiry on this subject is, — Are there both 
long and short syllables in the English language ; and can 
these varying quantities be so arranged as to produce an 
agreeable rythmus 1 The brief answer to this question is, — 
That we have, equally with the Greeks and Romans, the 
variation of long and short, in syllables; and it requires 
other arguments against the practicability of employing it 
in metre, than that derived from its having never yet been 
done. I would not choose to contend with him who doubts 
that quantity necessarily belongs to every spoken language. 
The ancients not only recognized it in theirs, but by a deep 
attention to its nature, availed themselves of its uses in the 
creations of literary taste. If Greek and Roman prosodists, 
in recording their special rules for the quantity of parti- 
cular words, had furnished us with a little of that philosophy 
of elemental and syllabic sounds, which authorized or in- 
stinctively produced the rules of their scansion, the moderns 
would, in all probability, have seen its application to their 
own languages. 

There is some ground for the opinion, though this part of 
history is not altogether clear, that the restricted melodial 



THE TIME OF THE VOICE. 169 

nature of Greek music; its relation to song, together with 
the care therein taken to adjust the temporal correspondence 
of syllables with notes; and its forming part of the liberal 
education of Grecian orators, poets, and philosophers, led to 
the close investigation of quantity, and finally effected its 
adoption as the basis of the poetical composition of the 
Greeks. The modern extension of the science of music to 
the principles and resources of the ingenious system of har- 
mony, has rendered it independent of the support of words ; 
and the nice measurement of their time has been neglected, 
since the. separation of the formerly united duties of the com- 
poser and the poet. 

I here offer the conjecture, but leave others to determine 
its truth, — that the establishment of Greek rythmus on the 
relations of quantity, did contribute, with other causes, to 
the improvement of the euphony of that language. We 
know what alteration rhyme, and the accentual measure 
have made in the pronunciation of English; and there is 
fair reason to believe, that one means for enlarging the 
resources of its rythmus, would be, to found its versification 
on quantity. The occasional wants of poets would prompt 
them to change many of our immutable syllables to indefi- 
nites ; would suggest the elision of atonic or abrupt elements 
from the ends of syllables ; and thus, by those large labors 
which the mere critic seems not to contemplate, and cer- 
tainly never has accomplished, our language might be in- 
vited towards that condition of syllabication which consti- 
tutes, in part, the prosodial superiority of the Greek. We 
know that the diseresis and other licenses of Greek versifica- 
tion, to say nothing of the dialects, were constantly used for 
facilities of poetic quantity, in that language : and we might 
inquire, whether the addition to its alphabet of the Heta 
and Omega, was not part of the contribution, suggested and 
afforded by the circumstances of the temporal measure. 

Those who are in the habit of poetical composition, in the 
common accentual method, know how readily words of suit- 
able accents are associated with the demands of versification. 
22 



170 THE TIME OF THE VOICE. 

Nay, the fluency of the ear, if we may so call it, is in this, 
matter so unfailing, that if the sense of words be disre- 
garded, there will be no hesitation in sorting such unmean- 
ing discourse into any assumed accentual measure. I mean, 
that a person with a quick poetical ear and a free command 
of language, will find no difficulty in carrying on, for any 
duration, an extempore rythmus of mere unrelated words 
or phrases. But a person who is not in the practice of 
metrical composition, even if he be aware, from rule, of the 
requisite succession of accents, will show as much delay in 
gathering words to fulfil his accentual purposes, as the 
former would have, under the present state of the English 
ear, in aptly furnishing syllables for a temporal rythmus. 
Habit must have given to the extemporising poets of Greece, 
the same elective affinity of ear, for the appropriate quan- 
tity of their verses, as the Improvisatori of later Italy had 
for their required accents. At least two-thirds of the ac- 
cented syllables of English 'words are indefinite in their 
time, and may, at pleasure, be made either long or short. 
This resource for measure may be employed. Until, there- 
fore, we have a larger experience upon the rythmus of 
quantity, in modern versification, and until the English ear 
knows more of the appreciable time of syllables than it can 
at present boast, we may be justified in considering the de- 
nial of the susceptibility of a temporal rythmus to modern 
languages, as a mere assumption. 

It is true that the number of monosyllables and dissylla- 
bles in our language, exceeds that of the Greek ; and this 
may possibly render the former less fit than the latter, for 
the construction of certain systems of measure. On this 
ground it has been asserted that English words could not be 
arranged in an agreeable dactylic succession. This may be 
the case, but we have too little sleight in the management of 
quantity, to justify a positive opinion on this point ; and the 
trials which have been made, are not quite decisive. Habit 
is a forestalled and obstinate judge over existing institutions, 
and often pronounces unwisely upon their better substitutes. 



THE TIME OF THE VOICE. 171 

It is certain that an anapaestic measure, founded on a mix- 
ture of accent and quantity, and nearly identical in effect 
with the ancient full dactylic line, is well suited to the syl- 
labic and verbal condition of our language ; and that a very 
agreeable rythmus is produced by it.* Admitting the above 
objection, it will not overrule the design to establish the 
forms of Iambic and Trochaic measure, now in use, on the 
basis of quantity alone. 

Although English versification is avowedly founded on the 
accentual rythmus, entire lines are occasionally found, so 
satisfactorily fulfilling all the conditions of the temporal mea- 
sure, that they might be judged by the revived poetical ear 
of a Greek. But such lines are always preceded and fol- 
lowed by others, founded on the mingled relations of both 
quantity and accent. One who is skilled in the art of mea- 
suring the time of syllables, will, over this compounded 
rythmus, be shocked by the irregular and unexpected va- 
riation of its dissimilar impressions. An ear of delicate 
prosodial organization, which yet makes no analysis of its 
perceptions, often experiences this rythmic violence from 
English verse, but is ignorant of its cause. He whom nature 
has made a poet, by refinement of ear and by copiousness 
of words, instinctively avoids, in composition, much of the 
evil of these conflicting systems. And one of the merits of 
a good reader of verse, consists in his changing our metrical 
accents into conspicious quantities, by protracting the voice 
on all those syllables which have a stress in the measure, 
and will bear prolongation. 

* Let us subjoin a word here, for our delusions and prejudices. The dactylic 
foot, and the anapaestic, fall with a similar impression on the ear. The ancients 
used the former for themes of the highest dignity ; and school boys are taught 
that it richly and gravely fulfils its purpose. We use the anapaestic foot for dog- 
grel and burlesque, and believe too. that there is something in its light skip pecu- 
liarly adapted to the familiar gayety of its modern poetic use. Let a deaf wor- 
shipper of antiquity and an English prosodkt, settle this matter between them: 
for, to serve a purpose, even the opposite ends of contradiction can be made to 
meet. I will only say, in the words by which the Yezedi of Persia, who worship 
the devil, briefly explained their faith, and pertinaciously defended it against a 
Christian missionary — " Thus it is." 



172 THE TIME OF THE VOICE. 

From all that has been said on the comparative nature of 
quantity and accent, and from the slow progress of modern 
nations in distinguishing the relations of the former, it would 
seem, that, of these two metrical impressions, accent is more 
easily recognized. Nor is it unwarrantable to infer, from 
the greater facility in arranging the accentual measure, 
that the first rythmic essays of all nations were made in 
this mode of versification ; and that the Greeks themselves 
passed through this rattling amusement of poetical childhood. 
There is no fact opposed to this inference ; and I could as 
soon be persuaded that the first instrumental music of Ota- 
heite was not the clattering of shells, as that the earliest 
songs of Greece were measured by the nice relationships of 
time. Our language is not indeed young in duration, but it 
is still in its infancy on this point: and many of those who 
have worked with good wishes, but ineffectual means, to- 
wards its improvement; and who, by taste and authority, 
have been qualified to listen to living voices, with progres- 
sively meliorating influence upon them, have only wandered 
off with an unavailing ear, among the silent graves of lan- 
guage in the remote realms of antiquity. We all feel an 
august delight over the works of the distant dead : There is 
scarcely a page of the poetic rythmus of the Greeks and the 
Romans, or a remaining trace of their plummet and chisel, 
that might not make me forget, through intense contempla- 
tion, the mere seclusion of a prison. But I could as soon 
admit, that the modern zeal in freighting our homeward 
ships with the fragments of their temples ; and the covet- 
ousness of nations for the very purloined possession of their 
statuary, ought to preclude the future use of the marble of 
our mountains, for the accomplishment of equal or tran- 
scending works of ark, as that a just admiration of classic 
measure should prevent the endeavor to transfer to our own 
language, the admissible principles of Greek and Roman 
poetry. 

I have offered the last few pages of this section, as no 
more than digressive and desultory remarks on a subject 



THE TIME OF THE VOICE. I73 

intimately connected with the time of the voice, and with 
the cultivation of an important but neglected accident of 
speech. 

The English language has an unbounded prospect before 
it. The unequalled millions of a great continent must hold 
a wide community, in the pleasures and interests of its 
advancement: and we should not so far undervalue the 
emulative efforts of that great population which must here- 
after form its literary class, as to suppose they will all 
merely vaunt in retrospective vanity, over what has been 
done, and not extend their views to other and deeper re- 
sources of their art. But, in thus looking forward to the 
establishment of English versification, on the basis of quan- 
tity, we must allow a limitation of the poet's abundance, 
for the substituted excellence of his few but finished lines. 
Our measure is now drawn from the two different sources 
of accent and quantity. To construct a rythmus by quan- 
tity alone, will require more rejections, and a wider search 
in composition ; more copiousness in the command of words ; 
greater readiness and accuracy of ear, in measuring the 
relationships of time; and longer, much longer labor for a 
shorter work. I am here speaking of the great products of 
the pen. Of these, as of all perdurable human excellence, 
labor must be the means; and the calculation of its extent 
will therefore always form one of the duties of judgment, in 
decreeing reward. Let him who could patiently devote a life 
to laying up store of ' goodly thoughts' for Paradise Lest, 
unravel the idler's fable about the * inspiration' of the im- 
mortal works of man. Let them, who to the soul of genius 
have joined the strong body of laborious care, say, in what 
consists the true life and the embalming of fame: let them 
touch the sleeve of early and voluminous authorship, and 
whisper one of the useful secrets for accomplishing more that 
may richly instruct and endure, and less that may merely 
please and perish. 



174 THE EXPRESSION OF MELODY. 



SECTION X. 

Of the Expression of Melody. 

A comprehensive account of melody, would properly re- 
present it as produced by a variation in the time, pause, and 
pitch of the voice; since the well appointed uses and dis- 
position of these accidents, make up the agreeable im- 
pression of speech. In two previous sections we have dis- 
cussed separately the subjects of time and pitch. I pro- 
pose here, to consider how far, merely the progressive steps 
of the diatonic melody are instrumental, in the work of 
expression. 

The various successions of radical pitch were, on a former 
occasion, traced to their ultimate forms, and designated by 
the definite terms of their phrases. We are now to learn, 
that some of these phrases have, to a certain degree, the 
power of representing the sentiments of the speaker. The 
design of this section does not embrace the consideration of 
the triad of the cadence which properly expresses no more 
than a feeling of repose: and as it has been already shown 
in its proper place, that a varied succession of all the 
phrases, produces the plain and unobtrusive character of 
the Diatonic melody, the general current of that melody is 
not to be regarded here. 

The Monotone and the Alternate phrase, are the only 
forms of melodial progression which attract the ear by any 
peculiarity of character, and thereby fulfil the purpose of 
vocal expression. 

A predominance of the monotone in melody, is suited to 
feelings of dignity, grief, tenderness, solemnity, and serious 
admonition. 



THE EXPRESSION OF MELODY. > 175 

The phrase of alternation is adapted to the more active 
sentiments of anger, and gaiety, to lively narrative, and to 
the earnest strife of argument. It is, however, to be taken 
into view, that the current melody must not consist alto- 
gether of either of these phrases. This would produce a 
disagreeable uniformity. The monotone should be occa- 
sionally broken by the rising or falling ditone ; and the alter- 
nation as frequently varied by a limited monotone. 

An illustration of the dignified expression of the monotone 
may be given, on that magnificent picture of Satan's impe- 
rial presence in Pandemonium, at the opening of the Second 
Book of Paradise Lost. 



High on a throne of roy — al state, which 


far 


rf" of if d£ df if ^ df 4 


4 




Out shone the wealth of Or — mus and of 


hid. 


\4 4 tfL-4—4 4 4 44 


4— 


Or where the gorgeous East with rich — est 


hand 


4 4 4 4 4 a cf 4 4 


4 




Show — ers on her kings har ba — ric pearl am 


1 gold, 


€4444 £4444' 







Sa tan ex alt ed sat. 



-4-4-4- 



The greater part of this melody is in monotone. I do not 
say the passage requires, exclusively, the order here given 
to the variations from the predominant phrase, since an ac- 



176 THE EXPRESSION OF MELODY. 

complished reader might alter the arrangement with equal 
or superior effect. But it will be found on trial, that if an 
equal amount of monotone, however disposed, be not allot- 
ted to these lines, the utterance will be, according to the 
degree of deviation, more or less at variance with the senti- 
ment of the poet, and the rapt dignity of the reader's con- 
templation.* 

* With due apology for the digression, I beg leave to return for a moment to 
the subject of the last section, by remarking, that Milton, with a rich instinct of 
versification, has thickly set the lines above quoted, with long quantities, in happy 
adaptation to the stately sentiment of the description. 

I use here, rather remarkably, the term instinct of versification, not in over- 
sight of the bright intelligence with which this extraordinary man executed every 
high design and every title of his work ; but because it is clearly seen, he did not 
intend to construct the measure of his poem by the rules of quantity alone. The 
development of the resources of the accentual measure by Milton, was a new and 
absorbing labor. Had this advance-step preceded him, the originality and rest- 
less enterprise of his genius would most probably have joined with the many prin- 
ciples of Greek and Roman composition, so happily transferred to his own lan- 
guage, the accomplishment of the supposed impossibility of adopting the mode of 
their rythmus. In the above example, where the majesty of his thought secured 
so much homage from his ear, some of the quantities suddenly arrest that percep- 
tion of continued movement and deliberate dignity, which the protracted time of 
the generality of the measure produces. The syllables state, rich, and sat, are 
too short, for the otherwise good iambic temporal rythmus of these lines: and the 
word barbaric occasions some irregular contrariety in the impressions of quantity 
and accent. In the abstract pronunciation of this word, the first syllable, bar, 
is somewhat longer than the second, which, by its nature will not, in this case, 
bear unusual extension. But the longer syllable is here in the place of the weak 
syllable of iambic accent ; and the impressiveness of exceeding length thus re- 
verses the succession of the prevailing rythmus. Nor does the simple meaning of 
the epithet barbaric, allow a sufficient degree of accentual stress on the second 
syllable, to over-rule the impressiveness of the greater length of the first. If the 
reader, excusing the rhetorical change, will substitute the adjective orient for bar- 
baric, he will perceive, by comparison, the difference between the accentual and 
the temporal rythmus, which I have just endeavored to explain. 

Showers on | her kings | her or | ient pearl | and gold. 

Now, whether the first foot and the fourth is considered respectively in order, 
a trochee and an iambus, as here marked, or as a dactyl and an anapaest, as they 
may be read, consistently with the genius of our iambic measure, I do assert that 
the admissible prolongation of the idefinite syllable or, produces a dignity of 
utterance, not equally effectible on the short time of the accented syllable of bar- 



THE EXPRESSION OF MELODY. 177 

The following notation of the description of Abdiel's en- 
counter with Satan, from Milton's sixth book, exemplifies 
the use of the alternate phrase, in expressing the earnest 
excitement necessarily produced by the eventful scene : 



So say — ing, a no ble 


stroke he lift ed high, 


4jd 4 d d 


4 44 4-4- 



Which 


hung not, but so swift with tern — 


pest 


fell 


d 


*f 4 4 d 4 4f_ 


4 


4 





On the proud 


crest 


of 


Sa — tan, 


that 


no 


sight, 


±t-*- 


4 


^4- 


44 


-4- 


4 


-4— 



Nor mo — tion of quick 


thought, 


less could his shield, 


4 4 4 u- 4 


*f 


4 S ^ 





Such ru in in ter cept. 



baric. And it may be added further, that this line does fulfil the conditions of 
poetic quantity, as completely as any line that ever was constructed with Greek or 
with Roman words. 

If the reader would know how certain words may be pronounced as a foot or 
prosodial phrase, either of two or of three syllables, let him recur to our principles 
of syllabication, formerly laid down. The word showers is one syllable, when the 
e is omitted : the diphthongal tonic ou, vanishing directly into the subtonic r. 
If the sound of e is retained, that element requires a radical, and the word be- 
comes, thereby, of two syllables. The trissyllable orient, is reduced to a dissylla- 
ble, by withholding a radical from the sound represented by i, and thereby drop- 
ping that sound as a distinct syllable. Now i, in the trissyllable, is expressed 
by the proper sound of ee-1, and this element passing readily into the subtonic 
y-e, coalesces with the succeeding tonic to form one syllabic impulse. The 
23 



178 THE INTONATION AT PAUSES. 

In this scheme, a limited variation of radical pitch is em- 
ployed, with the design to show merely the expressive na- 
ture of the alternation. Good recitation would require a 
wider range: still an alternate phrase in the form of skips 
should then predominate. A prevalence of the monotone 
throughout this passage, might represent the dignified cou- 
rage and calm security of an aggressor, confident of suc- 
cess: but it would be misapplied and faded coloring for the 
hurried mingling of watchfulness and dreadful expectation, 
which the description of the huge impetus is calculated to 
excite. 

Besides these two modes of expression by particular 
phrases, there is a certain effect produced by an ascent and 
descent of the melody, through the whole extent of the voice. 
My design leads me no further than to ascertain and illus- 
trate the general principles of this subject. In the sixth 
section, I gave the notation of a passage from Othello, in 
which the progression is represented gradually rising and 
falling, through the whole compass, corresponding with the 
variation of force in the sentiment : it is therefore unneces- 
sary to trouble the reader with a similar delineation. 



SECTION XL 

Of the Intonation at Pauses, 

The term Pause, in elocution, is applied to that occasional 
silence in discourse, which is greater than the momentary 
rest between syllables. 

word orient, in correct pronunciation, is a true dactyl in quantity ; I have set it 
as an iambus, not intending to defend the propriety of the contraction, but for the 
purpose of constructing thereby a regular iambic line, and to illustrate one of the 
principles of English pronunciation. 



THE INTONATION AT PAUSES. 17 g 

Pauses are used for the more conspicuous display of sense 
and sentiment, by separating certain words or aggregates of 
words from each other. 

According to the philosophy of grammar, a sentence may 
be regarded as resolvable, under a general view, irrto two com- 
prehensive parts of speech ; — the substantive, with its acci- 
dents of being, and the verb, with its various modes of action : 
all other symbols of thought being only specifications of the 
attributes of that being and that action, throughout the 
modes of time, place, degree, manner, and all other possible 
relationships of things. Now pauses separate the aggre- 
gates of words which describe those existences and agencies 
with their qualifications : and whilst the continuity of utter- 
ance within these sections, gives unity to the impression on 
the ear, the understanding remains undistracted through the 
temporary restriction of the scope of attention. The division 
of discourse, by means of occasional rest, prevents the feeble- 
ness or confusion of impression which would result from an 
unbroken procession of speech, no less remarkably than the 
skilful disposition of color, and light, and space, disentangle 
the objects and figures of the canvass, from the unmeaning 
positions and actions of a chaos and a crowd, 

The extent of the sections of discourse, thus separated by 
pauses, varies through all increasing degrees, from the limits 
of a single word to the inclusion of a full member of a sen- 
tence. There are, indeed, some purposes of expression which 
require a pause even between syllables. It was shown, in 
treating of syllabication, that the full opening of the radical 
cannot be completely made, except it is preceded by an oc- 
clusion of the voice. Now the accented syllable of the word 
a.Utack being an immutable quantity, can receive a marked 
emphatic distinction, only by means of an abrupt explosion 
of the radical, after a momentary pause. 

The times of the several pauses of discourse vary in dura- 
tion, from the slight inter-syllabic rest, to the full separation 
of successive paragraphs : the degrees being accommodated 



180 THE INTONATION AT PAUSES. 

to the requisitions of the greater or less connexion of the 
sense, and to the peculiar demands of sentiment. 

All the parts of a connected discourse, should both in 
subject and in structure bear some relation to each other. 
But these relations being severally more or less close, gram- 
matical Points were invented to mark their varying degrees. 
The common points are, however, very indefinitely effec- 
tive of their purposes, in the art of reading. They are de- 
scribed in books of elementary instruction, principally with 
reference to the time of pausing; and are addressed to the 
eye, as indications of grammatical structure. It is true, the 
symbols of interrogation and of exclamation are said to 
denote peculiarity of tone. But as there is, in these cases, 
no designation of the nature nor of the degrees of the vocal 
movements, the extreme generality of the statement affords 
neither preceptive nor practical guide to the ear. The full 
efficacy of Points should consist in directing the appropriate 
intonation at pauses, no less than in marking their durations : 
and a just definition of the term Punctuation would, perhaps, 
be as properly founded on variations and distinctions, pro- 
duced by the phrases of melody, as on a difference in the 
time of rest. I am not informed that any writer before Mr. 
Walker, had taught the necessity of regarding the inflections 
of the voice, in the history of pauses. 

It is of much importance in speech, with regard to mere 
variety of sound as well as to sense and expression, to apply 
the proper intonation at pauses. The phrases of melody 
have here a positive meaning, and often mark a continuation 
or a completion of the sense, when the style and the tempo- 
ral rest alone would not, to an auditor, be decisive of its 
nature. But the purposes of pausing being various, an appro- 
priate intonation must, by its changes, prevent that monotony, 
which is so common with most readers at the grammatical 
divisions of discourse. 

The effect of pause, in relation to the separation by time, 
will be illustrated in the next section, on the Grouping of the 



THE INTONATION AT PAUSES. 181 

voice ; and I now proceed to describe the successions of 
pitch, to be used at the different places of rest. 

The triad of the cadence denotes a completion of the pre- 
ceding sense, and is therefore inadmissible, except at a pro- 
per grammatical period. But it does not therefore follow, 
that it must be always applied at the close of a preced- 
ing sense; for in those forms of composition called loose 
sentences, and inverted periods, there are members with 
this complete and insulated meaning, which nevertheless do 
not admit of the downward closing phrase. 

The rising tritone indicates the most immediate connexion 
of parts, separated by the time of the pause. The ditone 
carries on the sense in the next degree. The phrase of 
the monotone denotes a diminished relationship between di- 
vided members : the falling ditone still less : and the down- 
ward tritone with rising concretes, produces the fullest sus- 
pension of sense, without obstructing its further continua- 
tion. The triad of the cadence being the maximum of 
distinction among the parts of discourse, a comparison 
of its downward intonation with the several directions of 
the other phrases, may serve to explain the causes of the 
varying indication of each, by showing the gradations of 
departure from the form and direction of the disuniting 
cadence. The degrees of connexion between the members 
of a sentences are so various, and the acceptation of them by 
readers may be so different, that it would not be safe to pro- 
pose a scheme for appropriating, definitely, the kind of 
phrase to every instance of pause. From present knowledge 
on this subject I would say, generally, that the intonation 
of some pauses may be varied, without exceptionably affect- 
ing either sense or elocution : but there are cases in which 
the species of phrase, from its exclusive adaptation to the 
character of the pause, is absolutely unalterable. 

The foregoing remarks on the use of the phrases of me- 
lody, have not been made in allusion to common gramma- 
tical punctuation. Writers on elocution have long since 
ascribed the faults of readers, in part, to the vague nature 



182 THE INTONATION AT PAUSES. 

of these points, and to the distracting effect of the caprice of 
editors in using them. 

In the notation of the following passage, the phrases of 
melody are applied with reference both to my own accepta- 
tion of the sense of the author, and to the distinct and vivid 
picture, producible by utterance. I have presumed to differ, 
in the second and in the fifth line, from the punctuation in 
the London edition of Todd's Milton, from which I make the 
abstract. 

So spake the Seraph Abdiel, faithful found 

Among the faithless, faithful only he; 

Among innumerable false, unmoved, 

Unshaken, unseduced, unterrified, 

His loyalty be kept, his love, his zeal ; 

Nor number, nor example, with him wrought 

To swerve from truth, or change his constant mind, 

Though single. 

When the reader looks upon the change of punctuation in 
these lines, he must bear in mind, that whether his decision 
is favorable to it or otherwise, it may still illustrate my idea 
of the power and place of the phrases of melody. If this is 
acccomplished, we need not dispute about the free will of 
taste, in the particular use of these phrases. My object in 
this essay is to explain the functions of the voice : not to 
contend with expositors and critics. 

When I speak of the employment of a phrase of melody, 
at a pause of discourse, it must be understood that the 
phrase is to be applied to the last syllables preceding the 
pause. Nevertheless, for particular purposes of expression, 
the monotone may be continued on the succeeding syllable. 

So spake the Se raph Ab diel, faith — ful found 





-4 * 


-4 






tf 


* * *-\ 






9 


w -j 


A- 


mong the 


faith-less. 


Faith 


-ful 


on- 


— ly he. 




4 4 


^T 


4 


^ 


4 


* \ ~\ 



THE INTONATIOx\ AT PAUSES. 183 

A — mong in nu me ra ble false, un moved, 




Un — 


— sha — ken, 


un — 


-se — t 


uced, 


un — 


— ter — 


— ri 


-fied, 


■*- 


4 4 


-4- 


4 


4 




4 


4 








-^gp 







His loy — al ty he kept, his 


love, his 


zeal. 


44 4 4 4 4* 


-4^t- 


-H 





Nor num — ber, 


nor ex am pie, with 


him 


wrought 


€ d 4 


44444 




^ 




s ^ ^ ^ 


1 



To swerve from truth, or change his con — stant mind, 

44 44 4~*~* 4** - 



Though sin gle. 



$f 41 



The first pause at Abdiel is marked with a falling ditone, 
because the included member does not necessarily produce 
the expectation of additional meaning or of qualification: and 
because this phrase does not absolutely dissolve the gram- 
matical concord between the members which it separates. 
I have set the triad of the cadence at faithless, not exclu- 
sively upon the right to assume the sense as here completed; 
but with a view to prepare for the eminent display of the 
sentiment contained in the remainder of the line. The edi- 
tor has marked this place with a comma, and thus made the 
three succeeding words a dependent clause. I have re- 
garded this clause as an elliptical sentence ; not only be- 
cause I might be justified in so doing by a grammatical reso- 
lution of it, but more especially in order to promote the ex- 
pressive effect of utterance. These words reiterate the pre- 



184 THE INTONATION AT PAUSES. 

vious attribution of faithfulness to Abdiel, with the further 
affirmation of his singleness in virtue. This definite and 
emphatic restriction of the individuality of the subject, is 
made with mingled sentiments of regret over the rebellious 
rejection of truth, and of exultation that Abdiel alone has 
the undivided merit of defending it. There is a touch of 
feeling in these sentiments, which even with all other due 
means for an appropriate utterance, cannot, as it seems to 
me, be answerably displayed, except the phraseology of 
those sentiments is separated from that of preceding and of 
succeeding thoughts, by the marked distinctions of the 
cadence. If the word faithless should be read with what is 
called, in the schools, a suspension of the voice, which in 
their indefinite language means — avoiding a fall, — the spirit 
of the clause which follows will be perverted or lost. Milton's 
fine ear, his vivid feelings, and his discriminating intellect, 
qualified him to be a good reader ; and though he may not 
have been one by practice, I would with difficulty believe 
that he thought the passage we are here considering, with 
the close sequence which is implied by the editor's comma 
and semicolon. 

The next pause at false, is preceded by the rising ditone. 
The structure of this member evidently creates expectancy, 
and the species of intonation indicates the continuation of 
the sense. 

Of the four succeeding pauses, each rests on a single word. 
The three first are noted with the monotone, to foretel the 
continued progression of the sense : the fourth, at terrified, 
has the falling ditone, to denote a change, but not a close of 
thought. In ordering these four pauses, variety might be 
shown, without affecting the sense, by giving to the two last 
syllables of unshaken, a rising phrase. The phrase at kept 
is the rising ditone ; for since love and zeal are equally, with 
loyalty, the objectives of kept, — these objectives being dis- 
joined by construction, no other phrase at kept, would so 
closely co-operate with the full pause which I have set at 
zeal, and thereby tend to impress on an auditor the true syn- 
tax of the sentence. 



THE INTONATION AT PAUSES. 185 

At zeal, which is marked by the editor with a semicolon, 
I have applied a period, and a form of the cadence ; for this 
close, by throwing back love and zeal, as objectives, pre- 
vents their bearing forward as nominatives to some expected 
verb ; which might not be obviated by employing, at this 
place, one of the continuative phrases of melody with a semi- 
colon. The use of a cadence in this place, puts the true 
grammatical construction of the sentence altogether out of 
doubt with the auditor. One can account for the employ- 
ment of a semicolon at zeal, by presuming that the editor 
considered the following word nor as a connective. It cer- 
tainly begins a new sense ; and in regard both to its place 
and its immediate repetition, may be looked upon as a poe- 
tical inversion and a redundancy of negative. The remain- 
ing part of the notation contains examples of the principles 
just elucidated, and therefore needs no explanation. 

I have thus endeavored to begin an effort towards supply- 
ing a blank in elocution, by giving a definite description of 
the modes of intonation, to be joined with the rests of the 
voice ; and by illustrating the manner in which we may 
frame principles, to direct the use of the several phrases. 
Those who desire knowledge of the structure of sentences, 
for the purpose of applying these principles, may consult 
books of rhetoric. Mr. Sheridan writes, with his usual 
ability, on the nature of pause, and gives numerous exem- 
plifications of its proper use. But he makes no analysis of 
that intonation which he, perhaps, may have joined with it, 
in the accomplished practice of his voice. Mr. Walker has 
also given a masterly treatise on this subject, in his Rheto- 
rical Grammar. He wisely saw the practical utility of 
uniting with the doctrine of the temporal purpose of pause, 
an enquiry into the applicable modes of intonation. In a 
philosophical view of the subject, his treatise contains no 
description of the functions of pitch, beyond the general dis- 
tinctions into rise, and fall, and turn, which had been made 
long before his time. Mr. Walker undertook the investiga- 
24 



186 THE INTONATION AT PAUSES. 

tion of the nature of speech, without possessing a discrimi- 
nating ear; without sufficient familiarity with the known 
distinctions of sound, and without seeming to keep in 
mind the means and end of philosophical inquiry. The 
example of the highest masters of science, had taught that 
all he could aim to accomplish by his research, would be, 
to observe the phenomena of the voice, and to class them 
with known facts in the history of sound. But the most 
precise nomenclature of the variations of sound, if not the 
most comprehensive history of them, is contained in the 
science of music : and Mr. Walker appears to have had too 
feeble or too limited a perception of its clear and abundant 
discriminations, to produce a recognition of idenity or an- 
alogy between the modes of the speaking voice, and the 
familiar phenomena of musical sounds. 

Even though we might despair that future inquiry will 
teach us the structural cause of the vanishing movement, 
and of the orotund and falsette voices : still it is certainly 
now within the ability of a disciplined and attentive ear, to 
discover whether sounds, supposed to be peculiar to the 
human voice, are similar to others that have been accurately 
measured and definitely named, in the classifications of 
music ; and consequently whether they might be designated 
by the same nomenclature, as far as the terms of music are 
applicable to the phenomena of speech. Such a mode of 
investigation, with its satisfactory results, being the whole 
means and gains of a true and useful philosophy, we might 
as well believe that the Newtonian discoveries in optics, 
could have been effected, without a previous acquaintance 
with the laws of motion, the variety of colors, and the rela- 
tions of mathematical quantity, — as look for a development 
of the modes of the human voice, by him who is ignorant of 
the known distinctions of sound. 



THE GROUPING OF SPEECH. 187 

SECTION XII. 

Of the Grouping of Speech. 

I have adopted a term from the art of painting, to desig- 
nate the instrumentality of pauses, and of certain affections 
of the voice, in uniting the related ideas of discourse, and 
in separating those which are unrelated to each other. 

The inversions of style, the intersections of expletives, and 
the wide separation of antecedents and relatives, which are 
allowed in poetry, may be made sufficiently perspicuous, 
through the circumspection of the mind, and the advancing 
span of the eye, in the deliberate perusal of a sentence. But 
in listening to the speech or the reading of others, we can 
employ no scrutinizing hesitation : and though the memory 
may retrace, to a certain limit, the intricacies of construc- 
tion, the best discernment cannot always anticipate the 
sense of a succeeding member, nor the nature and position 
of its pause. The higher poetry, in the contriving spirit of 
its eloquence, gives many instances of extreme involution of 
style. A reader, therefore, is frequently obliged to employ 
other means, for exhibiting the true relationship of words, 
besides that simple current of utterance, which may be suf- 
ficient for the clear syntax of a more natural idiom. 

The means by which deviations from the simple construc- 
tion of sentences may be rendered perspicuous in delivery, 
are — 

Pauses, which are here to be regarded merely as divisional 
agents : 

The Phrases of melody, that have been already in part ex- 
plained : 

A reduction of the pitch and the force of the voice, for which 
I use the term Abatement : 



188 THE GROUPING OP SPEECH. 

A quickness of utterance, that I here call the Flight of the 

voice : and 

A mode of indicating grammatical connexion, which may be 

named the Emphatic Tie. 
I have summed up the several means here enumerated, 
under the generic term Grouping, in order to explain their 
purposes by metaphorical illustration; and have distin- 
guished each by a specific name, thereby to invite attention 
to the subject, by the institution of a definite nomenclature. 

The most common method of grouping the related parts 
of a sentence, under the bond of a given condition of the 
voice, is that which is effected by its continuity within the 
limits of Pauses. This subject is so extensively treated in 
the Art of Elocution, that I give here but a single instance 
of the power of the pause, in separating the confluent ideas 
of a sentence, and in giving the proper independency to 
each. Let us take, from the second book of Paradise Lost, 
the description of Death's advancing to meet Satan, on his 
arrival at the gates of Hell. 

Satan was now at hand and from his seat 
The monster moving onward came as fast 
With horrid strides. 

I have omitted the punctuation of this passage : which if 
correspondingly read without a pause, would not be abso- 
lutely destitute of meaning ; for the auditor would under- 
stand the general course of the action described. But the 
force of expression which makes a vivid picture of the whole, 
through the distinct individuality of its parts, will be en- 
tirely lost. There are in this sentence four separate groups 
of thought, which should be indicated by three pauses. 

Satan was now at hand — and from his seat 
The monster moving — onward came as fast — 
With horrid strides. 

The first division, ending with hand, gives notice of the 
rapid approach of Satan. The second represents the mon- 



THE GROUPING OF SPEECH. 189 

ster Death rising from his seat, and is insulated by a pause 
at moving. This division is properly separated from the 
next, onward came as fast ; for though it describes the fur- 
ther movement of Death, and in this view might seem to for- 
bid the separation, yet its principal aim is to show the speed 
of his progress by comparing it with that of Satan, and this 
justifies the distinction which is here made. The last divi- 
sion, with horrid strides, must be separated from the pre- 
ceding : for if it were read — onward came as fast with horrid 
strides, the immediate connexion of the manner of movement 
with the declaration of the likeness between the time of it, 
in the two characters, might authorize the conclusion that 
Death was striding as fast as Satan was striding. Whereas 
the pause at fast refers that mode of progression to Death 
alone, agreeably to a previous part of the context, which 
describes Satan as moving on ' swift wings.' 

Some of the uses of the Phrases of melody were stated in 
the preceding section. I here offer one or two examples 
of the effect of an appropriate melody, in carrying on the 
connexion of thought, and in producing an immediate per- 
ception of grammatical concord. 

On the other side, 
Incensed with indignation, Satan stood 
Unterrified, and like a Comet burned, 
That fires the length of Ophiuchus huge, 
In the arctic sky. 

Should the phrase of the falling ditone be used at the 
pause which must be made at burned, it will, to the ear, 
destroy the concord between the relative that and the 
antecedent comet. By applying the monotone to these two 
words, the grammatical relationship between them will be 
vividly impressed, notwithstanding the intervening pause at 
burned: the grouping power of the melody, in this case, 
counteracting the dividing agency of the pause. 

A similar instance of the influence of the monotone, in ef- 
fecting a close connexion of the antecedent with the relative, 



190 THE GROUPING OF SPEECH. 

may be perceived at the pause after unheard, in the follow- 
ing lines: 

First, Moloch, horrid king, besmeared with blood 
Of human sacrifice, and parents' tears; 
Though, for the noise of drums and timbrels loud, 
Their children's cries unheard^ that passed through fire 
To his grim idol. 

Let us take one more example, illustrative of the principle 
of intonation here laid down : 

Art thou that traitor-angel, art thou he 

Who first broke peace in heaven, and faith, till then 

Unbroken 1 



In this passage the phrase in heaven is interposed be- 
tween peace and faith, the two objectives of broke. Now 
in order that the syntactic connexion between these words 
may be impressively shown, the slighest pause only is ad- 
missible after heaven ; and a more conspicuous one must 
be placed after faith. But the further expletive till then 
unbroken is immediately connected with faith ; and the 
only means by which this close relationship can be repre- 
sented in contravention to the delay of the pause after faith, 
which was shown to be necessary for another point of per- 
spicuity, is by using the phrase of the rising ditone or the 
monotone on faith. Thus the pause at this word represents 
clearly the full government of the verb broke, whilst the 
phrase of melody at that pause, prevents the intersection of 
rest, from dissolving the continuity of the previous sense 
with the succeeding expletive. The pages of poetry are 
full of instances of phraseology that require the management 
of the voice here described. Milton and Shakspeare cannot 
be read well, without strict attention to the apparent collision 
between the purposes of the pause and of the sense, and to 
the reconciling power of the phrases of melody. 

The reduction of the Pitch and the Force of the voice 
being generally combined in reading, I have, in this section, 



THE GROUPING OF SPEECH. 191 

designated them collectively, by a single term, — the Abate- 
ment of the voice. Common elementary books are sufficient- 
ly explanatory of the nature and uses of this means for ex- 
hibiting the sense and sentiment of discourse. Its power of 
grouping together the related parts of sentences, is shown 
by the well known mode of utterance in a parenthesis. 

I come now to speak of the perspicuity which may be 
given to a sentence, by what I have called the Flight of the 
voice. There is a familiar rule in elocution, which directs 
us to use a quickened utterance on the common parenthesis. 
This function may be extended to other grammatical con- 
structions. I give it here the importance of a name, and of 
a detailed discussion, from the indispensable necessity of 
employing it, for the clear display of the sense of some of 
those instances of close trimmed phraseology and extreme 
inversion, which are occasionally found in the higher species 
of poetical composition. 

In the following example, the part which requires the 
flight of the voice is marked in italics. 

You and I have heard our fathers say, 
There was a Brutus once, that would have brooked 
The eternal Devil to keep his state in Rome 
As easily, as a king. 

The word easily, here qualifies the verb brooked; and 
one of the means for impressing this on the auditor, is by 
the rapid flight here directed. A London edition of Reed's 
Shakspeare, from which this passage is quoted, has a pause 
after Rome. The rationale of the flight, which lies in allow- 
ing the least possible lapse of time between the utterance of 
related words, suggests the obliteration of this pause, and 
the addition of a slight one after easily. This tends to pre- 
vent the adverb from passing as a qualification of keeping 
his state, which certainly cannot be the sense of the author; 
but which at a glance of hearing, might be mistaken for it, 
without the aid of the altered pause and the flight. This 
is not the place to speak of the nice points of emphasis and 



192 THE GROUPING OF SPEECH. 

of melody, to be connected with the flight of this passage, 
in order to give clearness and strength to its effect. 

Say first, for Heaven hides nothing from thy view, 
Nor the deep track of Hell. 

To make it appear at once, in speech, that the deep track 
of hell is equally with heaven, a nominative to hides, the 
phrase of the monotone must be used at view, in addition 
to the flight of the voice, on the portion marked in italics ; 
— nor should there be a pause at view, as given by the 
editor. 

Should the mere grammarian conceive objections to any 
of these proposed changes of punctuation, he must recur to 
the design of this section. We speak now of the means of 
addressing the ear; and its jealous demands sometimes justi- 
fy a neglect of the usual temporal pauses, from the sense and 
expression in these cases being more obvious without them. 
The art of reading- well admits of the resource of compensa- 
ting for voluntary faults on some points, by the accomplish- 
ment of eminent effects on the others. 

By the grouping of Emphasis, or what I here call the Em- 
phatic Tie, I mean the application of emphasis to words, 
which would not otherwise require distinction, merely for 
the purpose of associating those ideas which cannot, by any 
other mode of vocal syntax, if I may so speak, be brought 
together, or exhibited in their natural grammatical depen- 
dence. The process of this function may be easily under- 
stood : for related words, however disjoined in composition, 
are at once brought within the field of hearing, in their real 
relationships, whenever they are raised into attractive im- 
portance, by force or any other kind of emphasis. 

The following stanza, from Collins' * Ode on the Passions,' 
will illustrate the nature of this mode of grouping. 

When Cheerfulness, a nymph of healthiest hue, 

Her bow across her shoulder flung, 

Her buskins gemm'd with morning dew, 

Blew an inspiring air, that dale and thicket rung, 

The hunter's call, to Faun and Dryad known. 



THE GROUPING OF SPEECH. 193 

These two last lines have an embarrassing construction 
to a reader. The phrases inspiring air, and hunter's call 
are in apposition; but there intervenes a clause, which 
might make rung pass for an active, instead of a neuter 
verb, and thereby render call the objective to it. To 
show, therefore, that by hunter's call the author means the 
inspiring air, previously mentioned, the words marked in 
italics should receive strong emphasis. This is the best 
mode for restoring to the ear that natural order which is 
inverted in the composition. 

This emphatic tie is often employed in combination with 
other of the means of grouping. Thus, in the several ex- 
amples, illustrating the use of the phrases of melody, their 
influence will be assisted by appyling the connecting empha- 
sis to comet and fires — children's and passed — peace and 
faith. In the examples of the flight, the relationships be- 
tween the words brook'd and easily — and between heaven 
and deep track of hell, will be made more manifest by the 
additional use of the emphatic tie. 

In short, it is sometimes necessary to employ all the 
means of grouping upon a single sentence, in order to make 
the syntax and the sentiment obvious to the ear. The 
extreme distortion of English idiom in the following lines, 
must be exceedingly perplexing to a reader : and, as far as 
I know, can be rendered somewhat less embarrassing, only 
by the use of all these means. The passage is taken from 
the fourth book of Paradise Lost, at the end of Satan's 
address to the sun. 

Thus while he spake, each passion dimm'd his face 
Thrice chang'd with pale, ire, envy, and despair; 
Which marr'd his borrow'd visage, and betray'd 
Him counterfeit, if any eye beheld. 

Milton uses the word pale, here, and again near the close 
of his tenth book, as a substantive. Its common adjective- 
meaning tends to throw some confusion into the sentence. 
Ire, envy and despair, are in apposition vtith passion, and are 
25 



194 THE GROUPING OF SPEECH. 

severally concordant with the distributive pronoun each. 
Now the only manner in which I can approximate towards 
a clear representation of this blameable piece of latinity, is 
by making a quick flight over the portion dimmed his face 
thrice changed with pale, and by an abatement thereon ; by 
laying a strong emphasis on each passion and on ire, envy, 
and despair, thus marking the concord, by the emphatic tie ; 
and by applying the phrase of the rising ditone, with a 
pause, at pale. 

After all, it is a hard picture to paint, for a taste that will 
have true colors — well laid on. 

In the present section, and in the two preceding, we have 
been occupied, more in considering the audible means of dis- 
playing the sense of discourse, than in pointing out the signs 
of expression. But the delineation of sense must, in all cases, 
be co-existent with the representation of what is distinc- 
tively called sentiment. 

In this section, and in other parts of this essay, examples 
for illustration, are chiefly selected from the prime works of 
poetry ; inasmuch as the strength and variety of sentiment 
which they embrace, afford the widest field for the use of 
the remarkable functions of speech; and because I am per- 
suaded, that if the principles thereby established, are com- 
prehended by the reader, he can have no difficulty in apply- 
ing them to the less intricate modes of prose. But let me 
again repeat, that I have taken upon myself the part of a 
physiologist, not of a rhetorician. 



THE INTERVAL OF THE OCTAVE. 195 



SECTION XIII. 

Of the Interval of the Octave. 

In the foregoing history of expression, the part performed 
by the variations of Pitch was described, only as it appears 
in the radical and vanishing movement through the interval 
of a single tone. 

In speaking of the diatonic use of the concrete, and of its 
progress in the melody of simple narrative, it was said that 
the vanish never rises above the interval of a tone; and that 
the variations of the radical pitch, whether upwards or 
downwards, never exceed the limits of this same interval. 
Now such unpassionate narrative as was then supposed, is 
rarely found of any continuance: but the mode and occa- 
sions of the exceptions having been reserved for future ex- 
planation, I avoided confusing the subject then in hand, by 
restrictive remarks, which could not have been understood, 
without much digressive explanation. The wider intervals 
of pitch which are used for expression, are now to be de- 
scribed. 

By the term Octave, when applied to speech, is meant the 
concrete rise of the voice, from any assumed place, through 
superior parts of the scale, until it ends or vanishes in its 
eighth degree, or in the octave to that radical at which it 
began. This concrete interval is employed for the expres- 
sion of interrogation; and of astonishment, wonder, and 
admiration, when they imply some slight sentiment of doubt 
or inquiry. It is further used, for distinguishing words, as 
will be shown hereafter, under a new and more comprehen- 
sive view of Emphasis. The octave is not limited to those 
phrases alone, which carry the common grammatical nota- 
tion of a question. There are some declaratory sentences 



196 THE INTERVAL OF THE OCTAVE. 

which are made interrogative by intonation ; and there are 
many occasions in discourse, on which the sentiments of the 
speaker are so nearly poised between certainty and doubt, 
that he admits, by an interrogative movement, the hesita- 
tion, of inquiry, in the very confidence of assertion. 

The octave being the widest interval of the speaking scale, 
is significant of an earnest and forcible degree of interroga- 
tion, and of the other sentiments which it conveys. It is 
likewise the appropriate mode of intonation, if the question 
is accompanied with sneer, contempt, mirth, raillery, and the 
temper or triumph of quick and of peevish argument. 

From the time required in drawing out the interval of an 
octave, it must be obvious, that this mode of interrogation 
can be executed conspicuously, only on a syllable capable of 
prolongation — How then can the interrogative expression be 
given on a short and immutable syllable ? The process by 
which this is done, will be described hereafter, with particu- 
lar reference to interrogative sentences. It may be here 
transiently illustrated by the following notation. 



s * 4-4-*—(- 



In this scheme, it is visible that a discrete change or skip 
is made from the radical line of the concrete octave, to a 
line alonty the height of the vanish of that same octave. Now 
immutable syllables, in an interrogative sentence, are trans- 
ferred by this discrete or radical change to the summit of 
the concrete interrogative interval, and thus discretely pro- 
duce the expressive effect of that interval, though less re- 
markably than the indefinite syllables which pass through 
the concrete rise. As there are more short syllables than 
long ones in most sentences, the discrete change, as here 
exhibited, must be the predominating mode of interrogative 
intonation. The above scheme shows further, that after the 



THE INTERVAL OF THE OCTAVE. 197 

radical pitch has assumed the line of the vanishing octave, 
the voice proceeds in the diatonic melody on that line, until 
the occurrence of a syllable which requires and will bear 
the concrete rise ; then the radical pitch descends to form a 
new octave concrete. Thus it appears, that the rule of 
intonation, laid down when speaking of the diatonic melody 
of simple narration, does not apply to the melody of inter- 
rogative sentences ; for these employ a more extended con- 
crete interval, and a wider discrete transition in their 
changes of radical pitch. 

When the octave is used for the purpose of emphasis, the 
voice immediately descends, after its concrete rise on the 
emphatic word, to the original line of radical pitch, as in 
the following notation : — 




But this matter of emphasis is to be treated more particu- 
larly, and to be illustrated hereafter. 

It may be remarked on the subject of the concrete octave 
and its radical change, as the means of interrogative and 
of other modes of expression, that this wide interval being 
employed for the most earnest degree of these purposes, it 
is of less frequent occurrence in speech, than the following 
intervals of the fifth and the third. 



198 THE INTERVAL OF THE FIFTH. 



SECTION XIV. 



Of the Interval of the Fifth. 

The radical and vanishing Fifth, like the octave, is used 
for interrogation; for wonder and admiration, when they 
embrace a slight degree of inquiry or doubt; and for empha- 
sis. It has, however, less of the smart inquisitiveness which 
is expressed by this last interval. It is the most common 
mode of interrogative intonation ; and without having the 
flippancy of the octave, it is equally capable of energy, and 
is always more dignified in its appeal. The explanatory 
remarks in the last section, on the subject of the change of 
radical pitch, in interrogation and emphasis, apply to the 
like uses of the fifth. That is, in interrogative sentences, 
after the voice has made a discrete change by radical pitch, 
through the interval of a fifth, the succeeding melody may 
continue at its elevation, till again brought down for the 
purpose of a new concrete rise ; and after the use of the 
fifth, for emphatic distinction on a single word, the pitch im- 
mediately returns to the original line of the current melody. 

From the preceding account of the intonation of the octave 
and of the fifth, we learn that their effects are cognizable 
under two different modes — the concrete rise, and the radi- 
cal change; that the former of these modes is impressed 
more remarkably on the ear; and that the distinction be- 
tween the interrogative and emphatic use of these intervals, 
consists in the difference of the number of syllables, to which 
these intervals are respectively applied. 

It was said that the intonation of the octave, whether by 
concrete or by radical pitch, is rarely employed ; since a 
rise of eight notes above the ordinary line of utterance car- 



THE INTERVAL OF THE THIRD. 199 

ries most speakers into the falsette. And even with those 
in whom the rise might not exceed the natural voice, the 
melody when suddenly changed in radical pitch, would 
often be ludicrous, from contrast ; or would be in danger of 
breaking into the falsette in its variations; or would be 
beyond the limits of the speaker's skilful execution. These 
objections do not apply to an occasional skip of radical pitch 
through the ascent of the fifth; the variation being less 
striking in contrast : and the interval of a fifth above the 
common range of the voice being rarely beyond practicable 
management. 

Besides the above described uses of the octave and fifth, 
there are, in common life, some cant modes of exclamation, 
and other familiar and vulgar voices which are made on 
these intervals. They require no further notice. 



SECTION XV. 

Of the Interval of the Third. 

The concrete Third, like the two last named intervals, is 
used for interrogative expression, and for the intonation of 
emphasis. But its degree in both these cases is less than 
that of the fifth. It is the sign of interrogation in its most 
moderate degree; and carries with it none of those senti- 
ments which, jointly with the question, were alloted to those 
other movements. 

Besides the exceptions to the rule of the plain diatonic 
melody, in the use of the octave and fifth, it must now be 
added, that the general current of the tone is further varied, 



200 THE INTERVAL OF THE THIRD. 

by the introduction of the interval of the concrete third, and 
by the change of radical pitch through the extent of this 
interval. It is more frequently used than either of the two 
former; for, although it is more rarely employed than the 
fifth, as an interrogative, it is a common form of emphatic 
intonation. In pointing out the phrases of melody, it was 
said, that the rising tritone, or upward succession of three 
radicals, on as many syllables, is occasionally employed. 
Now by the nature of the scale, three radical places con- 
tain the interval of a third : it is therefore the union of the 
constituents of a tritone, rejecting the vanish of the last, 
that makes the proper concrete third. This concrete as 
regards interrogative effect, is more impressive than the dis- 
crete rise of the radicals : for if the words, Go you there, 
be uttered with the phrase of the rising tritone, or one sylla- 
ble successively a tone in its radical pitch above the pre- 
ceding, with a downward vanish on each, it will have the 
character of an imperative sentence. But if the first word 
should move through the space of the tritone by a concrete 
rise, and the two others should be uttered at the top of that 
concrete, the effect would be interrogative, notwithstand- 
ing both might bear the downward vanish. — The same will 
be the case when the second word has the concrete, and the 
last the radical change; or, when the two former have the 
common diatonic melody, and the last alone the concrete 
rise. These would be the different processes for effecting 
the interrogative expression, according as the sense might 
require the emphasis on different words. 

There is a mode of replication in common speech, especial- 
ly used by the Scots, consisting of a repetition of the affirma- 
tive yes, or aye, in the radical and vanishing third; and 
whilst the words seem to pay the courtesy of assent, the 
interrogative nature of the intonation still insinuates the 
hesitation of doubt or surprise. Should the sentiment which 
dictates these words be of unusual energy, the expression 
will assume the form of the fifth, or octave. 



THE INTERVAL OF THE THIRD. 201 

When the reader will hereafter have acquired the prefa- 
tory knowledge which is necessary for the full comprehen- 
sion of the nature of emphasis, it will be definitely explained, 
in what manner and on what occasions the octave, the fifth, 
and the third, are employed, in this important function of 
correct and impressive speech. But it may belong to this 
place to remark, that as the emphasis which is given to the 
prominent words of concessive, conditional, and hypothetical 
sentences, carries with it, in a measure, the latent sentiment 
of an interrogatory, its application may properly be illus- 
trated here. The following examples of conditionally and 
concession, call for a wide interval on the words marked in 
italics. 



Then when I am thy captive talk of chains, 

Proud limitary Cherub! but ere then, 

Far heavier load thyself expect to feel 

From my prevailing arm, though Heaverfs king 

Ride on thy wings. 

So in the hypothesis of the following sentence : 



■If I must contend, said he, 



Best with the best, the sender, not the sent. 

And the same with the exceptive phrase marked in these 
lines: 

The undaunted fiend what this might be, admired; 
Admired, not fear'd. God and his Son except , 
Created thing naught valued he, nor shunn'd. 

It is not the purpose to decide here, which of the wider 
intervals is to be set respectively on the strong words of 
these examples. The citations were made, merely to show 
that the third or fifth, or octave, may be used on the empha- 
tic syllables of such sentences. 

The interval of the minor third, as we have seen in the 
first section, consists of one tone and a half. It has a plain- 
26 



202 THE INTONATION 

tive expression, and is not, as far as I have observed, em- 
ployed for any of those purposes of interrogation, condition- 
ality or concession, which are here ascribed to the major 
third. The rare occasions of its use in speech will be men- 
tioned hereafter. 

It may perhaps be useful, in this place, for the reader to take 
a retrospect over the subject of melody, as it has thus far been 
described ; and to look upon it as consisting of the diatonic 
phrases formerly enumerated, varied for the purposes of 
interrogation, and of emphasis, by the occasional introduc- 
tion of the wider intervals of the octave, fifth, and third. 
In speaking of the melody of simple narrative, the radical 
changes of that style were reduced to seven elementary 
forms. It may be thought that the further use of these 
wider intervals, in the transitions of pitch, justifies an addi- 
tional nomenclature, for the phrases which are employed in 
expression. It does so; and the Phrase of the Eighth, of the 
Fifth, and of the Third, when the transition is made by the 
radical skip, are the terms by which these new forms of me- 
lodial progression in speech may be respectively designated. 



SECTION XVI. 

Cf the Intonation of Interrogative Sentences, 

Having ascribed the powers of interrogation to the oc- 
tave, — fifth — and third, I defer, for a moment, the history of 
the remaining forms of pitch, in order to point out the 
mode of employing those intervals, in the course of an inter- 
rogative sentence ; that we may thereby learn how they are 
related both to its current melody, and to its cadence. 



OP INTERROGATIVE SENTENCES. 203 

With a view to exhibit the forceful effect of the interro- 
gative intervals, when unsupported by those grammatical 
constructions which generally indicate a question, let us 
take the following sentence : 

Give Brutus a statue with his ancestors. 

This sentence is significative of an intention to honor the 
patriot, and is imperative in that purpose. But if the versa- 
tile plebian should, the next moment, have a new light of 
discernment, he might deny the tribute, by repeating the 
very words of the decree, with the sneering intonation of a 
question. 

Give Brutus a statue with his ancestors 1 

The different modes of the voice in these two instances, 
would be perceptible to every hearer : nor could the altered 
intention of the speaker, in the last case, be mistaken. The 
conspicuous effect of this line, when read in the latter way, 
proceeds from the use of the rising interval of the fifth on 
each of the syllables ; and it shows the power of that rise 
in changing an imperative to an interrogative expression. 
The interval is used either concretely or by a radical 
change, on each syllable of the sentence. In this way the 
question is completely and strongly conveyed ; for should 
the fifth.be employed upon every word except the last, and 
should this be uttered with the diatonic triad, the expression 
of the sneer will be lost. If the interrogative effect be given 
to the last word, and omitted on the others, it will, in some 
degree, denote an inquiry ; but much less forcibly than when 
the intonation is applied to every syllable. The preceding 
examples were given, merely to show the effect of the wider 
intervals when compared with the simple concrete of the 
tone or second in a diatonic melody. The manner of apply- 
ing these wider intervals, for the purposes of interrogation, 
will be presently described. 

Before we enter on this subject, the purposes of ele- 
mentary instruction require some notice of the different 



204 THE INTONATION 

degrees of the interrogative expression; since some sen- 
tence demand its employment on every syllable, whilst 
others are fully significative of the question by its partial 
application. But to be more definite : — 

By the term Thorough Interrogative Expression, I mean 
the use of the intended interval on every syllable of the 
sentence : — 

By Partial Interrogative Expression — the use of the inter- 
val on one or on a few syllables ; others, and particularly 
those at the close, having the melody of plain declarative 
discourse. 

The proper reading of the questions contained in the fol- 
lowing selections, may serve to illustrate the nature of the 
above named divisions. When Clarence enters guarded, at 
the end of the opening soliloquy of King Richard III, Glos- 
ter thus addresses him : — 

Brother, good day ! what means this armed guard 
That waits upon your grace 1 

Here the interrogative intonation is heard only on the 
clause, — what means this armed guard; the rest of the 
sentence has both the current and cadence of the diatonic 
melody. 

When the Queen, in the third scene of the first act, says : 

By Heaven, I will acquaint his majesty 
Of those gross taunts I often have endured. 

Gloster retorts : 

What ! threat you me with telling of the king ? 

This proud and angry question must have the interroga- 
tive intonation throughout its current, with the unfinished 
rising at the close, or it will not express the spirit of the 
speaker. 

As the characteristic mode in each of these questions can- 
not be interchangeably transferred, and as every question 
has an appointed universality, or a restriction, in the degree 



OF INTERROGATIVE SENTENCES. 205 

of its expression; it is a necessary inference, that some 
directive principles must be operative on good readers, where 
such can be found, in designating the places and marking 
the limits of this expression. I propose in the present sec- 
tion to describe, in part, the nature of interrogative sen- 
tences ; and to set forth some of the principles that seem to 
govern their use of intonation. 

The circumstances which direct the thorough and the 
partial use of interrogative expression, arise out of the 
following conditions of the grammatical form, and of the 
spirit and purpose of the question. 

Sentences are employed with an interrogative intention, 
under various modes of construction. They are framed 
assertively, and derive the power of a question solely from 
intonation : or they are made by the reversed position of the 
natural order of the nominative and verb : or by joining cer- 
tain pronouns or adverbs with the preceding condition : or 
they are of a positive or negative form : or they may em- 
brace expletive or assertive clauses, in connexion with the 
phrase containing the point of the question : or they may 
include two or more questions connected by a copulative or 
disjunctive conjunction : or finally, two or more interroga- 
tive sentences may separately succeed each other in series. 

With respect to the purpose or the spirit of the phrase, 
an inquiry may be grounded on the real ignorance or doubt 
of the interrogator : or it may intimate a knowledge of the 
subject ; nay, in an extension of this condition, a question is 
sometimes put as a triumphant mode of assertion. Interro- 
gations may be urged with great earnestness, or addressed 
in a moderate temper ; they may be made with surprise, or 
scorn, or exultation. 

From this view of the varieties under which interrogative 
sentences appear, we must exclude all those interjective 
clauses and appealing exclamations, which editors frequently 
mark with a note of interrogation. 

If we try the experiment of utterance, in the various 
cases above mentioned, we may be able to deduce some 



206 THE INTONATION 

general rules on this subject ; or furnish approximations 
towards them, for the assistance of future researches. Let 
us make the attempt. 

It may be laid down as a rule, without an exception, that 
where an interrogative sentence has the assertive construc- 
tion, it requires the Thorough expression. In addition to 
an example of this case, given in a preceding page, let us 
take an illustration from Coriolanus, in which the same 
words are used as a declarative and as an interrogative 
phrase. In the fifth scene of the fourth act, the servant of 
Aufidius says to Coriolanus, — 

Where dwellesl thou? 

Cor. Under the canopy. 

Ser. Under the canopy? 

Cor. Ay. 

Ser. Where's that ? 

Cor. In the city of kites and crows. 

Ser. In the city of ' kites and crows ? 

The replications here set in italics, should be read with 
an interrogative interval on every syllable; and the reason 
is obvious. All assertive sentences, when put as questions, 
are elliptical : since they should properly include some gram- 
matical phrase of interrogation. Thus the speaker here 
means either with inquisitive doubt as to the words, Did 
you say, — under the canopy 1 — or with real inquiry as to the 
place, — Where is, — under the canopy? — And so of the 
other instance. But the grammatical sign of the question 
being omitted in these cases, it is necessary to supply the 
defect of the ellipsis, by the use of the thorough interroga- 
tive intonation. For when the interrogative interval is 
applied exclusively to any one of the words or syllables, 
except the last, it constitutes a mere declaration, with an 
emphasis on the word so marked. When it is set on many 
syllables, or on all except one, it indeed produces something 
of an interrogative effect, but quite unsatisfactory to the 
demands of the sense and the ear, in this case. Should the 
expression be made on the last, while the other words run in 



OF INTERROGATIVE SENTENCES. 207 

the diatonic melody, the reading will fall short of the mean- 
ing of the phrase, if it should not, indeed, misrepresent it: 
since the unexpected rise at the close, instead of the consist- 
ent termination by the cadence, will produce an anomaly of 
utterance irreducible, by me at least, to any design of ex- 
pression. 

When a sentence is constructed with the interrogative 
pronouns or adverbs, and embraces none of those sentiments 
which call for the Thorough expression, it commonly ap- 
pears under the Partial form. Some of the exceptions to the 
generality of this rule will be mentioned, in speaking of the 
varying sentiments of an interrogative phrase, and of its 
final emphatic syllable. 

When the question is made by the nominative being 
placed after the verb or auxiliary, either the Partial or the 
Thorough intonation is employed. I need not illustrate the 
varieties of this case : the reader can readily recur to exam- 
ples under it, in which the mode of intonation, must be 
determined by the nature of the sentiment, the place or 
places of the emphasis, and the form of the sentence, whether 
it is short and simple, or extended and complex. 

Questions constructed with pronouns or adverbs, or with 
the reversed nominative, are made directly to the point of 
inquiry, or indirectly by a negative, to its opposite. The 
intonation of such questions has the Thorough or Partial 
expression, according to the spirit or the emphasis of the 
sentence. The reader may run over the dialogue of the 
drama and find examples enough for the proof or correction 
of what is said on this point. 

When a sentence, besides the point of the question, has 
additional members or clauses which contain an address to 
a person, or assertions, or expletives, or reference to causes, 
the expression assumes the partial form, as in the following 
instances : — 

Of address : — 

Why vrith some little train, my lord of Buckingham! 



208 THE INTONATION 

t 
Of assertion : — 

Why did you Laugh then, when I said, Man delights not me 1 

Of expletive : — 

What's Hecuba to him, or he to Hecuba, 
That he should weep for her? 



Of cause 



What of his heart perceive you in his face, 
By any likelihood he show'd to day 1 ? 



The reason of the rule, in this case, seems to be, — that the 
additional clauses though modifying in some degree the 
leading point of the question, yet do not, in their separable 
membership, carry an interrogation, which that portion of 
the sentence, marked in italics, and called here, the point of 
the question, does. 

When two or more questions of moderate temper are con- 
nected by conjunctions, or when, without this union by par- 
ticles, they follow in series, it is not necessary that each 
question should severally have the degree of interrogative 
expression which its solitary use might require. 

Give me thy hand. Thus high, by thy advice, 
And thy assistance, is king Richard seated : — 
But shall we wear these glories for a day? 
Or shall they last, and we rejoice in them'? 



Are you call'd forth from out a world of men, 
To slay the innocent 1 What is my offence 1 
Where is the evidence that doth accuse me % 
What lawful quest have given their verdict up 
Unto the frowning judge? or who pronounced 
The bitter sentence of poor Clarence's death 1 

When this rule is not contravened by conditions which 
require, universally, the thorough expression, the question, 
in such instances as the above, is sometimes sufficiently 
marked, if some of the constituents of the series carry an 



OF L\TERROGATIVE SENTENCES. 209 

interrogative interval on a single word ; which reduces the 
expression to the state of a declarative sentence, having an 
emphatic word, so signalized by the given interval. Per- 
haps the reason of the rule may be, that — when the mind or 
ear of the auditor is in the humor of the question, if I may 
so speak, the interrogation is sufficiently indicated by the 
grammatical construction of the sentence. 

With respect to the purpose or the spirit of an interroga- 
tion, there are some notable properties which seem to govern 
the use of intonation. 

When the question is prompted by the ignorance or un- 
certainty of the speaker, and thus contains a real inquiry, it 
generally bears the thorough expression ; which must con- 
sequently in many instances, overrule the formulae for the 
partial intonation of sentences constructed with pronouns or 
adverbs, or with the inverted position of the nominative case, 
and of sentences in conjunction or in series. 

Hamlet. Dost thou hear me old friend 1 

Can you play the murder of Gonzagol 



Prospers Thy father was the duke of Milan, and 

A prince of power. 
Miranda. Sir, are not you my father? 

Although in the stated form of this rule, I have ascribed 
to it only a general operation, yet, when the question is 
made with much earnestness, its bearing is universal. 

The intonation appropriated to those questions which are 
made argumentatively, or in the way of a confident appeal, 
varies from the full thorough application, through all the 
degrees of its partial use, to the very opposite expression of 
the most positive declaratory sentence: But of the appeal- 
ing interrogation — I shall speak, in a future section. 

When a question is vehemently made, under any mode of 
construction of the sentence, and with any number of such 
questions, either in conjunction or in series, the rule may be 
27 



210 THE INTONATION 

received as very general, which assigns to the expression 
the thorough extent. 

Show me what thou'lt do? 
Woo't weep 1 woo't fight 1 woo't fast 1 woo't tear thyself? 
Woo't drink up Esil? eat a crocodile? 
I'll do't. Dost thou come here to whine? 
To outface me with leaping in her grave 1 

The reader may find full illustration of this rule, by turn- 
ing to Shylock's noted parallel between the Jew and the 
Christian, with his earnest resolve upon revenge — in the 
first scene of the third act of the Merchant of Venice. 

Should a question be addressed in a moderate temper of 
inquiry, the speaker will generally affect the partial mode 
of expression. When Hamlet says to Guildenstern, 

Will you play on this pipe? 

the composure of mind and the rank of the prince, mingle in 
the question, the mild authority of a request, with the doubt 
of an inquiry ; and this is perhaps properly represented by 
the use of the interrogative intonation on the first part of the 
sentence, with a subsequent reposing descent of the diatonic 
cadence. It is true, the instrument is brought into the 
scene, and the question is thereupon put, with a view to the 
consequent quibble; and on this ground, perhaps, the word 
pipe might be regarded as emphatic. Still the emphasis 
may be made by stress or force of voice on the last constitu- 
ent of the triad, as well as by a rising interrogative inter- 
val. 

When a question is made with surprise, indignation, scorn, 
and other emotions of a similar spirit, it generally receives 
the thorough expression. It is unnecessary to transcribe 
from the first act of Hamlet, instances it affords to illustrate 
the effect of wonder, on the intonation of a question. But 
if the reader will turn to the scene between Hamlet, Horatio, 



OF INTERROGATIVE SENTENCES. 21 1 

and the two officers, he will find, that from the moment Ho- 
ratio informs Hamlet of his having seen his father, there 
follows, on the part of the prince, a succession of questions, 
with both the declaratory and interrogative construction; 
most of which require a marked use of the thorough expres- 
sion. With like earnestness, Cleopatra says to Proculeius, 
the friend of Coesar, 

Know, sir, that I 
Will not wait pinioned at your master's court; 
Nor once be chastised with the sober eye 
Of dull Octavia. Shall they hoist me up, 
And show me to the shouting varletry 
Of censuring Rome ? Rather a ditch in iEgypt 
Be gentle grave unto me. 

The repulsive indignation of this question cannot be fairly 
painted, without the fullest measure of interrogative color- 
ing. 

When the last syllable of a question is emphatic, and its 
intonation is not forcibly directed to the partial expression, 
by some one of the preceding rules, particularly by that 
which concerns the series, this last syllable bears the inter- 
rogative interval. Should the sentence be short, or consist 
of a single member, the expression will have a thorough ap- 
plication. In the dialogue between the murderers of Cla- 
rence, the second speaker exclaims and asks, — 

What, shall we stab him as he sleeps'? 

From the answer of his companion, it is plain that the 
question points at the act of sleeping, and this produces an 
interrogative emphasis on the last word. Had the inquiry 
been whether the victim should be stabbed or strangled, the 
word stab would carry the emphatic intonation, and the 
sentence might end with the diatonic cadence. 

It will be shown, in a future section on Exclamatory sen- 
tences, that many phrases having the grammatical con- 
struction of a question, and containing other and stronger 
sentiments that overrule the interrogative intonation, are 



212 THE INTONATION 

not properly expressed by rising intervals, but by the con- 
trary movements of pitch. 

Having thus endeavored to bring the subject of interro- 
gative sentences, as regards the entire or the partial appli- 
cation of their expressive intonation, into something like a 
manageable form, I leave the correction of the errors of the 
effort, and the amplifying of its approved hints, as a work 
for the better ear and closer attention of others. 

Let us now proceed to consider more particularly the 
manner in which the interrogative intervals are applied to 
individual syllables. 

Prefatory to this investigation, it is necessary to consider 
the function of the radical and vanishing movement, when 
applied to short and immutable syllables. In the second 
section I described the modes of trial, by which the existence 
of the various concretes might be exemplified on long quanti- 
ties : and it was there asserted that no syllable could be 
uttered without passing through the radical and vanish, 
under some form of intonation. We have now reached a 
point in our subject, at which the reader may receive the 
proof of this assertion, as respects the equable concrete of 
the wider intervals of speech. 

It may be supposed that the reader is familiar with the 
effect of the concrete rise through a third, — fifth, — and 
octave, which constitutes interrogative expression. Now let 
him take the immutable syllable top, which is one of the 
shortest in the language, and pronounce it as a mere sound, 
without meaning or sentiment. Again, let him utter it as 
an earnest question: and he will perceive that with what- 
ever rapidity it may be pronounced, he can still produce on 
it, the peculiar interrogative expression. There is therefore 
in the last experiment some condition of the voice which is 
not heard in the first. Since then, we know that this inter- 
rogative expression, when heard on the slow and measurable 
time of an indefinite syllable, is produced by the wider 
interval of the fifth or octave ; the inference is fair, that the 
voice in producing that same effect on a short syllable, must 



OF INTERROGATIVE SENTENCES. 213 

have passed through one of those wider intervals. For it 
may be shown that it does not proceed from any peculiar 
quality of voice; nor from an impressive degree of force: and 
that it is not produced solely by a skip of the syllable to a 
high place of pitch, without its concrete movement, may be 
ascertained by the following experiment. Let the reader, 
rise through the musical scale by repeating the word top, 
taking care to give it no more than the radical and vanish 
of a second at each degree : he will perceive that to what- 
ever height he ascends, the interrogative intonation will not 
be produced. To what then is this interrogative intonation, 
on an immutable syllable to be ascribed, if not to a rapid 
flight of the voice, through a concrete interrogative interval. 
The audible effect justifies the conclusion ; though the in- 
crements of time, and of space on the scale, which are so 
distinctly perceptible in the slow 7 er concrete, are in this case 
of the immutable syllable, altogether beyond the power of 
measurement. 

From this view of the difference in time of the radical and 
vanish, when made upon indefinite, and upon immutable 
syllables ; and with reference to the uses of their different 
times in the intonation of interrogative sentences; let us call 
the movement of the voice through an indefinite syllable, — 
the Slow Concrete: and its flight through a short and an 
immutable one, — the Rapid Concrete. 

It will appear by the trials above proposed, that the inter- 
rogative effect is producible on the shortest syllables: and 
similar experiments will warrant the general conclusion, 
that every interval of the scale is practicable on every 
syllable of speech. But it is to be remarked, that the use of 
the wider intervals on short syllables, when compared with 
their application to long and indefinite ones, has a feebleness 
of interrogative expression directly proportional to the ra- 
pidity of their flight; and consequently, that the slow and 
distinctly measurable concrete on indefinite syllables pro- 
duces the strongest expression of interrogation. It is desire- 
able, however that the thorough expression should be equally 



214 THE INTONATION 

diffused : and as all syllables are not by length qualified to 
bear the slow and most eminent interrogative concrete, it 
follows that other means, besides those already described, 
must be employed on short syllables, for the purpose of 
fulfilling strongly and uniformly the intonation of a question. 
The means for lengthening the comparative feebleness of in- 
terrogative expression on short syllables, consists in raising 
them, by the change of radical pitch, to the line of the sum- 
mit of the slow concretes which are allotted to the indefinite 
quantities in a sentence ; as the following notation of a case 
of thorough expression will exemplify : 

Give Bru tus a stat — ue with his an ces tors'? 



j=&=Ft=f= J=^ 



M d 0L 



In this scheme the interrogative intonation is made by the 
fifth on every syllable. To the two first, which are indefi- 
nite and emphatic, the slow concrete is applied. On the 
third, which is short, and therefore cannot bear the slow 
concrete, the pitch is suddenly transferred by radical change 
to the height of the preceding vanish : where, at the same 
moment, the syllable takes on the rapid concrete of the fifth. 
The melody continues at this height, on all the following 
syllables which are unemphatic, or which if emphatic, as may 
be said of stat, are of immutable quantity. At the indefinite 
syllable an, the radical pitch descends for the purpose of 
rising on that syllable by the slow concrete : and the two 
final short quantities terminate the melody by the radical 
change and the rapid concrete. 

It is by this method then, — the union of a radical change 
with the rapid concrete, that a full and forcible power of 
interrogative intonation is given to those syllables, which are 
too short to admit of the slower and more measurable move- 
ment. 



OP INTERROGATIVE SENTENCES. . 215 

If the reader would be better satisfied, as to the execution 
of this function of the radical change, and the perception of 
its effect, through an exemplification on a single word, let 
him deliberately pronounce the noun convict, as an earnest 
question. The syllable con being an indefinite quantity, and 
emphatic, will be distinctly heard to rise concretely from 
a given point of pitch, to the place of the fifth, or octave, 
according to the earnestness of the expression: and the im- 
mutable syllable vict, will be heard at the height of that 
previous vanish. When vict is kept down at the level of 
the radical of con, and there uttered with a rapid concrete 
rise, carefully guarding against the descent to a close, the 
interrogative effect is indeed still perceptible, but in a de- 
gree far inferior to the keen questioning of the former mode 
of intonation. 

It is not difficult to assign the reason why the interroga- 
tive effect of the rapid concrete is enhanced, by its being 
taken on the higher places of the scale. For the rise by the 
slow concrete, is after all, but a peculiar mode of change 
from a low to a high pitch : and though that peculiar and 
continuous mode is plainly distinguishable, in its degree of 
expression, from a discrete ascent to the same height, still 
an essential though not the exclusive power of the former 
function, is, its designating that higher place. Now this 
power is the sole efficient in the radical change; and like 
two discrete notes on a musical instrument, when heard in 
immediate succession as the extremes of a wide interval of 
the scale, it does produce an effect closely resembling that 
which arises from a concrete transition of sound between 
the same extremes. When to this effect of the radical 
change, the coincident and co-operating expression of the 
rapid concrete is added, the combined effects become equi- 
valent to that interrogative expression which is produced by 
the longer concrete on an indefinite syllable. 

As the rapid concrete on a short syllable, whether it is 
emphatic or not, does, however moderately, produce an 
interrogative impression, it may be used, without the radical 



216 THE INTONATION 

change, in those cases which do not require a strongly 
marked intonation of the question. That is, all the interro- 
gative syllables of sentences which bear the partial ex- 
pression, for a thorough expression is generally forcible, may 
be kept at about the same line of radical pitch. But the 
syllables so disposed must still perform their rapid concrete 
in the appropriate interrogative interval : and it will gene- 
rally be found, that the moderate temper of such questions 
receives the abated expression which was ascribed to the 
Third, in the history of that interval. 

Besides that succession of radical change which has been 
noted and explained, there is another mode of applying the 
general principle of its construction. When the first part of 
a sentence consists of short quantities, which resist extension 
through the slow concrete, the interrogative expression may 
be made, by the voice setting out at once on the high pitch, 
and descending afterwards at the first emphatic syllable of 
long quantity, which will bear the slow concrete. Thus 
taking the two first symbols of intonation from the preceding 
example, and setting over the remaining notation, the follow- 
ing phrase, as an earnest question : 

Pitt a statue with his ancestors'? 

the reading will have the just interrogative expression. 

Perhaps the reader is now prepared to understand me 
when I say generally, That the current melody of interroga- 
tion, in those sentences which require the Thorough ex- 
pression, is made by the use of the slow concrete interval of 
the third or fifth or octave, on the long and emphatic sylla- 
bles ; and by a change of radical pitch, together with the 
rapid concrete of the same interval, on those which are 
short and unemphatic or unaccented : that in those sen- 
tences which are restricted to the Partial expression, the 
intonation is made by a similar use of the above named 
interrogative intervals, in connexion with the phrases of the 
common diatonic melody : and that in both these cases of a 
Thorough and of a Partial extent of expression, the interroga- 



OF INTEROGAT1VE SENTENCES. 217 

tion may be constituted solely by the Third, or the Fifth, 
or the Octave ; or more than one of these intervals may 
be used in the same sentence, accordingly as the emphatic 
force and the sentiment of the several words require, on the 
one hand, the same expression, and on the other, an appro- 
priation of the peculiar powers of the different intervals to 
the varying demands of those words. 

Let us now learn the mode of constructing the cadence of 
interrogative sentences : or, as some of these sentences have 
not that peculiar characteristic of close, or discontinuation, 
which belongs to the cadence strictly so called, let us learn 
the manner of intonation on their three final syllables. 

When a sentence bears the Thorough expression, the close 
is made in one of the following ways. 

If the three last syllables are unemphatic, or immutable, 
or are the unaccented syllables of an emphatic word, the 
interrogative effect is produced by a radical change, and a 
rapid concrete of these three final syllables : these syllables 
at their elevated pitch, being carried on in the phrase of the 
monotone or rising ditone. For since the interrogative ex- 
pression should always create that perception of continuity 
which is contradistinguised in character from the close of 
the Triad, the above named phrases do add their peculiar 
power, in this respect, to that of the rapid concrete, in order 
to give the required continuation of the voice at the end of 
the sentence. This species of close is here exemplified, 

He said you were in com pa ra blel 



j=i— r +-i^= i=J=£ 



9 @/ 



The same case of Thorough expression being supposed ; if 
the antepenultimate syllable is emphatic, and of indefinite 
quantity, it assumes the slow concrete, and the two last take 

28 



218 THE INTONATION 

on the radical change and the rapid concrete ; as shown by 
the notation of the word ancestors in a preceding example. 

In a like case, when the penult is a long quantity, it will 
rise by the slow concrete ; and the last will have the rapid 
concrete with the radical change. This mode of intonation 
may be well understood without a notation of it ; and from 
what has been already shown, it will be unnecessary to 
annex an illustration by the staff, to all the succeeding de- 
scriptions within the present subject. 

If the last syllable of a sentence which requires the tho- 
rough expression be emphatic, and capable of bearing the 
slow concrete, it will assume that form of intonation. Under 
this condition, the radical pitch of the three last syllables 
may go through the downward tritone, as in the following 
scheme : — 

Give Fab ius a tri umph for his de—lay ? 



&==!=£ 



£ 



pgggj 



In such instances the final rise of the octave, fifth, or third, 
as the case may be, will create the perception of continuity, 
and thus counteract the tendency of the radical descent, 
through three successive tones, to produce a close : for it is 
a condition of the cadence, that the vanish of its last con- 
crete should be in a downward direction. 

When the expression is Partial, and the last clause of the 
sentence does not require the interrogative intervals, it is ob- 
vious that the melody of that clause must be of the common 
diatonic species, and should therefore terminate with the 
appropriate triad. But sentences with the partial expression 
sometimes have one of the three final syllables emphatic : in 
which case, the emphatic syllable may call for the interro- 
gative expression. Under this condition the following will 
be the forms of the cadence. 



OF INTERROGATIVE SENTENCES. 219 

When the antepenultimate syllable is emphatic, and inde- 
finite, it will bear the slow concrete interval ; and the two 
last will successively descend from the radical of that con- 
crete, and form with it, a proper diatonic triad. 

Should the penult be emphatic, and bear the slow con- 
crete, the last syllable will have its radical pitch a tone be- 
low that of the preceding, and by its downward vanish will 
produce the close of the triad ; the emphatic syllable which 
bears the interrogative intonation, being in its radical pitch, 
a tone below the antepenultimate. This mode, however, is 
not common: for if the expression by the concrete interval 
comes so near the close, it is generally continued, by the last 
syllable taking on the radical change. 

When the final syllable is emphatic, and of indefinite time, 
the cadence is made like that of the last instance, in the pre- 
ceding account of thorough expression. 

The history here given of interrogative intonation em- 
braces some leading points of its use in speech. I leave the 
discovery of more particular phenomena, and the exhibi- 
tion of the reason and rule of their variety, for the observa- 
tion of others. Upon some future extension of the principles 
of this essay, to the universal practice of speech, the subject 
of interrogative intonation will form a chapter of full and 
precise specification. I see some of its unsorted materials ; 
but have not time to gather in, to disentangle, to harmonize, 
to combine, and complete. What is here done may seem 
to be too much. For the present age, I believe it is. But 
this is a concession altogether irrelative to the progress of 
knowledge, and to the pleasure we derive from its develop- 
ment. A history of the desirable and welcome truths of 
Nature, in the dignified confidence of even its humble contri- 
butions, no more asks the favor of those who read, than Na- 
ture herself asks the gratitude of those who enjoy her boun- 
ties. She gives what she gives, for her own purposes, with- 
out distracting her self-energized dispensations, by the sub- 
ordinate spring of expected approbation. A record of her 
admirable things should be, in all, the image of her ; and per- 



220 THE INTERVAL OF THE SECOND. 

haps he would both do and enjoy more, in the work of dis- 
covering and describing her, who could catch a portion of 
the unostentatious spirit with which she bestows, and who 
could put on some of her indifference, to the thoughtless 
praise or blame of those who receive. 



SECTION XVII. 

Of the Interval of the Second. 

I return from the foregoing account of the use of the 
wider intervals of pitch, in the construction of interrogative 
melody, to the enumeration and description of other inter- 
vals of more limited extent, but of no less essential efficacy 
in the scale of intonation. 

The rising interval of the second, or the proper radical 
and vanishing tone, has in previous parts of this essay been 
largely spoken of, both as regards its nature and its position 
in speech. We here reconsider the subject of this interval, 
with a view to complete the enumeration of all the concrete 
spaces of the speaking scale : and to add one or two remarks, 
on the subject of its nature and uses. It is the basis of what 
I have called the diatonic melody ; and in correct and agree- 
able elocution, is more frequently used than any other inter- 
val : since it is appropriate to all those parts of discourse 
which convey the plain thoughts of the speaker ; as these 
are contradistinguished from the emphatic meanings and 
sentiments, which I designed to embrace under the head of 
Expression. Although the Tone, in its simplest state, is 
thus excluded from among the especial agents of expression, 



THE INTERVAL OF THE SECOND. 2 21 

I shall show hereafter, that it may receive a stress on dif- 
ferent parts of its concrete course, which gives a marked 
coloring to its intonation : and it has already been taught in 
the section on Time, that an extension of the voice on sylla- 
bles of long quantity, produces a deliberate enunciation, a 
dignity and a smoothness which give the highest effect to 
the diatonic melody, without destroying its characteristic 
simplicity. 

It has been previously stated, that the radical and vanish 
are necessary functions of utterance ; or in other words, that 
no syllabic impulse can be made without its passing through 
some one form of the concrete. But in asserting here that 
immutable syllables in a diatonic melody, do pass instanta- 
neously though the second or tone, I am bound to confess 
that my ear cannot measure the fluent increments of the 
transition. Yet I am led to the conclusion that the fact is 
so, by the following considerations. 

Every case of concrete utterance of a tone, in which the 
increments of time and of motion are perceptible, has mani- 
festly the radical and vanishing progression. Now when 
the time of this manifest concrete is gradually shortened, in 
repeated pronunciation, till the syllabic impulse becomes, as 
it were, a mere point of sound, the characteristic effect of 
this instant impulse on the ear, does not differ materially 
from that of the last impression in which the increments of 
the concrete progress are measurable. 

But further, it has been shown that the interrogative in- 
tervals of the third, the fifth, and the octave, may be passed 
through on an immutable syllable. This was proved by the 
peculiar effect of the interrogative voice being distinctly 
cognizable on this sort of syllable : and we shall learn in the 
next section, that the smaller interval of the semitone, the 
peculiar expression of which may be immediately recog- 
nized, whatever is the time of utterance, does likewise pass 
through the concrete, on the shortest syllables. Now we can 
scarcely refuse to the Tone, the attribution of that concrete 
movement on momentary syllables, which belongs to all the 



222 THE INTERVAL OP THE SECOND. 

other intervals of the scale, when uttered with the same 
momentary impulse. This, however, is certain : — that there 
is a plain but characteristic effect in the momentary enuncia- 
tion of immutable syllables, clearly distinguishable from 
that of their protracted utterance through the concrete 
space of a semitone, a third, and other wider intervals. This 
may be a mere point of voice ; but for the above reasons, I 
do believe it to be a rapid concrete passage through the 
second or tone. 

Perhaps the reader may desire to know particularly, to 
what portions of discourse the tone or second is applied ; and 
with what continuity the diatonic melody, which consists in 
a play on this Tone, is used. In describing and illustrating 
this melody, it was represented as extended through succes- 
sive sentences. The diatonic movement is however, rarely 
found of long continuation : the current of the Tone being 
intersected by the interposition of concretes with a different 
range of pitch. We have already seen that the wider rising 
intervals of the scale are used for interrogative expression ; 
that they are likewise applied to single words, as one of the 
modes of emphasis ; and we shall learn that other elements 
of pitch are occasionally introduced for this same purpose of 
emphatic expression. Now, as these occasions for using the 
other intervals occur in most discourse, it will be found that 
the diatonic melody, generally, exists in detached portions ; 
the continuity of the melody in the tone or second being 
broken by those other intervals : and this interruption will 
be more or less frequent, as the occasions for expression 
occur. A Gazette advertisement, a legal instrument, and 
the purely communicative style of plain narrative and of 
description may generally be read in the thorough diatonic 
melody. But there are few compositions which are ad- 
dressed to taste, that have not their melody varied by 
the more or less frequent occurrence of the coloring of other 
intervals than the second. According to the line I have en- 
deavored to draw between mere thoughts, and what are 
called sentiments or feelings, and consistently with their ap- 



THE INTERVAL OP THE SECOND. 223 

propriate intonation, it might be supposed that the demon- 
strations of Euclid should be read in one continuous stream 
of diatonic melody ; but even these are perpetually varied 
by wider intervals, introduced upon illative, absolute, and 
conditional phrases. The fragments of diatonic melody, oc- 
curring in prose declamation, in poetry, and in the drama, 
are generally small : and conversation, when not didactic, 
nor designedly solemn, nor unavoidably dull, almost banishes 
the melody of the tone, in the vivid coloring of its widely 
varied intonation. 

Since I have assigned restrictively, the interval of the 
second, in the form of a diatonic melody, to a certain cha- 
racter of discourse ; and since it is desirable that this me- 
lody should be executed with the greatest propriety and 
elegance, it may not be amiss to point out the mode of ma- 
naging the second, for the attainment of these ends. 

The diatonic melody being deprived of the resources of 
the wider intervals, and other modes of intonation, by which 
more sentimental discourse is expressively adorned, is lim- 
ited to the means of excellence, arising out of the skilful 
ordering of time and stress. The different forms of stress 
which may be applied to a concrete rise of the second, will 
be described in a future section. The other principal means 
for adding dignity and grace to the delivery of a passage of 
this plain melody, and for producing a well measured ryth- 
mus, is by the adjusted variety of length, in the quantity of 
syllables. It is not however, by the prolongation alone, 
that a clear and agreeable enunciation is effected, in a digni- 
fied form of diatonic speech. It is necessary that the length 
should be made with the equable movement which pecu- 
liarly constitutes this mode of intonation : and further, that 
the voice, in this equable rise of the tone, should have that 
full opening and subsequent gradual diminution, which sug- 
gested its subdivision by terms, into a radical and a vanish- 
ing movement. He who has not cultivated his voice in 
these particulars, will find it difficult to give the extreme pro- 
traction of an indefinite syllable, with its co-existent proper- 



224 THE CHROMATIC 

ties of equability and vanish : and will, on trial, be very apt 
to carry out a long quantity, with the intonation of song. 
But if he will throw away all ideas of self-sufficient ge- 
nius, and make himself acquainted with the three distinct 
modes of the radical and vanishing movement, the light and 
guidance of a special purpose in study and practice, may 
lead him to an unerring command over the equable concrete 
of speech. 

The power of making long quantities on indefinite sylla- 
bles, with the precision of boundary and the smoothness and 
nicety of vanish belonging to the best execution of this equa- 
ble movement, is one of the most attractive and the rarest 
accomplishments of a speaker. The skilful performance of 
this concrete function, in the impressive fulness and dignity 
of the Orotund voice, gives the acknowledged satisfaction to 
a discerning ear, when an accomplished Actor first breaks 
his silence in the dialogue ; even though it is by a solitary 
syllable. With this temper of voice, his opening efforts 
cleave their way at once to approbation ; and need no work- 
ing on a dull material through the tedious whetting of a 
whole act, to bring it to an edge. 



SECTION XVIII. 

Of the Interval of the Semitone ; and of the Chromatic 
Melody founded thereon* 

The smallest but not the least important division of the 
scale, through which the radical and vanishing movement 
may be heard, is the interval of the Semitone. In the second 
section of this essay, I described the means by which the 



MELODY OF SPEECH. 225 

reader can acquire a distinct perception of this concrete 
interval. It was there said, that, if, in ascending the scale, 
the effect of the transition from the seventh to the eighth 
place be compared with the syllabic utterance of a plaintive 
sentiment, their identity will be acknowledged. Now the 
interval from the seventh to the eighth, in the diatonic scale, 
is a semitone. This interval is used in speech for the ex- 
pression of complaint, pity, grief, plaintive supplication, and 
other sentiments congenial with these. 

In ascending through the diatonic scale, by a repetition of 
the word fire, subdivided into two syllables with the addi- 
tion of the subtonic y-e to the last, so that fi and yer shall 
be alternately set on each point of the scale, it will be per- 
ceived that the transition from the seventh to the eighth 
place gives the same expression to the word fire, as when it 
is uttered through the streets in the outcry of alarm. 

The intonation by the concrete semitone, is universally, 
the symbol of nature for animal distress : and in the above 
mode of exemplification on the scale, its effect is very dif- 
ferent from that of the concrete passage of the word through 
the space of a whole tone, between the first and second 
points of the scale. Among a multitude of voices, where 
the alarm is given by public cry, this utterance through the 
second is occasionally heard : and I am sure some of my 
readers may be able to call to mind the defect of its disso- 
nant difference from the plaintive intonation of the great 
majority. It cannot be exemplified by the pen : but when 
the uncommon impression of a particular cry is not pro- 
duced by quality or shrillness, it generally arises from this 
misapplied form of pitch. We are much disposed to esti- 
mate men by certain assumed characteristics of their classes; 
And though our judgments thereby may sometimes be erro- 
neous, there is often truth, and always caution in this me- 
thod of opinion. Be this as it may, I never hear the cry of 
fire made through the interval of a whole tone, without a 
persuasion of the general impotence or deformity of that 
29 



226 THE CHROMATIC 

voice or that ear, which can, in this particular, so far trans- 
gress the ordination of nature. 

The semitone is employed for the expression of gentleness 
of feeling: and never for that of great energy, harshness, or 
impetuosity of thought. It affects generally a slow time and 
long quantity in utterance. The interjective exclamations of 
pain, grief, love, and compassion, are prolongations of the 
tonic elements on this interval. But it can be executed, and 
the effect of it is distinctly perceptible, on the short time of 
immutable syllables. For it will be found on experiment, 
that the word cup, or any similar immutable, can be ut- 
tered with a plaintive intonation, even in its shortest time. 
Since then this plaintiveness, when made with long quanti- 
ties, on which the transition may be distinctly measured, is 
always produced by the concrete semitone, and not by a 
movement through any other known interval of the scale ; 
it may be fairly concluded, when this plaintiveness is heard 
on an immutable syllable, that the semitone is rapidly per- 
formed, even though the gradual course of its time and mo- 
tion is imperceptible. 

In the next section, we shall consider the nature, and uses, 
and various intervals of the downward vanishing movement. 
But it is necessary to consider here transiently the down- 
ward vanish of the semitone ; since its function is involved 
in the subject of the chromatic melody of speech, which I am 
about to describe. 

The downward radical and vanishing semitone may be 
exemplified, by beginning at the top of the scale, with the 
word fire divided, as before, into two syllables, fi and yer, 
and descending by the alternate use of these syllables. The 
voice in the concrete movement from the eighth degree to 
the seventh, will have a plaintive character, though some- 
what different from that of its upward progress through the 
same interval. Whereas, the concrete movement through a 
whole tone, from the second to the first, will not produce 
that plaintive effect. It may thus be understood, that if the 



MELODY OF SPEECH. 227 

voice should rise concretely through the semitone, and im- 
mediately in continuation descend through it ; this repetition 
of ihe interval would prolong the impression of the plaintive 
character. Now as the sentiment which dictates the semi- 
tone usually affects a slow time and an extension of syllabic 
quantity, the expression of this interval is generally made by 
the continuity of its upward and downward concrete move- 
ment. This structure answers two important purposes. It 
produces a stronger impression of the sentiment : and by 
repeating the interval, continuously in its concrete form, it 
allows a prolongation of voice, without endangering the 
characteristic of speech, by the liability of a long quantity, to 
pass into the protracted radical or protracted vanish of song 
and recitative. The expressive effect of this doubled semi- 
tone may be exemplied by making an immediate return in the 
downward direction, after having ascended to the top of the 
scale. For the highest interval of the scale being a semitone, 
if the concrete ascent be continued with an unbroken cur- 
rent, into a return upon that interval, as the commencement 
of the descending scale ; and if we pause after this first 
downward step, we shall perceive an effect of intonation 
exactly resembling that which belongs to the plaintive utter- 
ance of a protracted syllable of speech. 

The sentiments which are naturally expressed by the 
semitone are sometimes restricted to individual words; 
sometimes they extend over phrases and sentences, and even 
throughout entire sections of discourse. These last occa- 
sions requiring the semitone on every syllable, necessarily 
produce a melody consisting of a continued succession of 
that interval. In the sixth section, the Diatonic melody 
was represented as formed by the progression of pitch 
through the interval of a whole tone. That which is here 
spoken of being through a semitone, may be called the Semi- 
tonic or Chromatic melody. Like the former it is subdivided 
into the current melody, and that of the cadence. The 
movement of its current resolves into seven sorts of phrases, 
similar to those in the diatonic progress. But as the change 



228 THE CHROMATIC 

by radical pitch in the chromatic current, is through the 
interval of a tone, only when it descends, and not when it 
ascends, as will be shown presently, the use of the nomen- 
clature must be pardoned, when I call the several semitonic 
phrases by the terms assigned to those of the diatonic melody. 

The doctrine of key and of modulation is the same in the 
two melodies. A similar appropriation of phrases to the 
pauses of discourse, for continuing, or suspending, or closing 
the sense, is used in each ; and the same rule for varying 
the phrases of the current melody, in the production of an 
agreeable effect, is applicable to both. But as the senti- 
ments which dictate the use of the semitone and its melody, 
are always more grave or depressed than those associated 
with the diatonic, the former more frequently affect the 
phrase of the monotone. 

In speaking of the diatonic melody, I subdivided its essen- 
tial movements into the concrete pitch, and the radical pitch. 
The same distinctions may be made in the progression of 
the chromatic melody. Its concrete pitch is always the 
interval of a semitone. Its radical pitch, if I have not erred 
in observation, is conducted in the following manner. When 
the current melody descends, the radical change is down- 
ward, over the space of a whole tone. But when it ascends, 
the radical change is upward over the space of a semitone. 
This change of a tone in descending will be perceived on 
executing the downward ditone of a chromatic melody, and 
comparing its effect with that of the two first constituents of 
the triad of the diatonic cadence : for it will be found that if 
the downward radical pitch of a chromatic melody be fol- 
lowed by another downward radical similar to the first; or 
in other words, if we attempt to make a downward tri- 
tone in a plaintive intonation, the triad of the cadence 
will be thereby so nearly accomplished, that it will solicit 
for its consummation, only the faint downward vanish of 
that triad on its last constituent. Now the radical pitch of 
the triad of the cadence is constructed of the successive 
descent of whole tones. 



MELODY OF SPEECH. 229 

The following considerations lead to the conclusion that 
the radical change in the upward direction, is in some cases 
made by the step of a semitone. By intonating the scale in 
the manner directed at the beginning of this section, it will 
be perceived that after rising through the first semitone, on 
fi, the next syllable yer begins at the top of that preceding 
concrete; thus making the radical change of the ascent in 
this case, a semitone : and as every concrete of a chromatic 
melody is a semitone, it follows, by the rule of the scale, 
that each successive syllable of a chromatic progression, 
when the radical pitch rises, must be at the distance of a 
semitone above the preceding. 

But it has been shown that the concrete pitch of this me- 
lody is, in slow utterance, generally continued into the re- 
turning downward vanish of the semitone. On this occasion 
then, the above reason for the radical change taking the in- 
terval of a semitone in its upward progress, does not apply. 
Whether in this case of the returning downward concrete, 
the subsequent radical change upward is by the semitone or 
the tone, I am not prepared to decide, with that confidence 
which I have felt on other points of observation recorded 
in this work. On the whole, however, there is not much 
change of radical pitch in this melody ; since the monotone 
is its prevalent phrase. 

We learned in a previous section, that in the diatonic 
melody, special purposes of expression call occasionally for 
the introduction of the interval of the octave, the fifth, and 
the third. It will be asked, perhaps, whether these inter- 
vals are found in the course of a chromatic melody : and if 
so, how they are engrafted on it. They have a place in it, 
both for the purpose of interrogation and of emphasis ; and 
are applied in the following manner. 

Since plaintiveness is the characteristic of this melody, if 
an interrogative word in the course of it, should require the 
rise of either the octave, fifth, or third, it is clear that the 
expression both of the semitone, and of that wider interval, 
should if possible, be conjoined. But by the use of the wide 



230 THE CHROMATIC 

interrogative interval the plaintive expression would be lost. 
These two apparently incompatible effects therefore can be 
conjoined on one syllable, for the purpose of chromatic 
ii terrogation or emphasis, only by carrying the voice 
through the upward and downward semitone on the appoint- 
ed syllable; and by leading it afterwards in continuation 
from the extremity of the downward vanish, through the 
inward concrete of the octave or the fifth, or the third, as 
the intended expression of the interrogation or emphasis may 
require. When the peculiar keenness and force of expression 
which was ascribed to the octave is recollected, it must at 
once be supposed that it is rarely found among the signs of 
semitonic interrogation : the more abated power of the third 
or fifth being commonly used for this purpose. Perhaps the 
reader may not here require an illustration of the chromatic 
melody, by the staff and its concretes. The precision I have 
endeavored to give to the terms of the description, will I 
hope enable him to understand it without delineation ; or to 
mark the tablature for himself. 

The cadence of a chromatic melody is made by a peculiar 
construction of the triad. 

The reader will find on experiment, that there is no other 
mode of reaching the satisfactory pause of discourse, on 
three distinct syllables, than that which was described in 
the history of the diatonic cadence ; and which consists in 
the radical descent of whole tones, as noted in the first and 
second diagrams of the cadence, in the sixth section. — Con- 
sequently the chromatic triad must be made by a similar 
radical descent, since a downward triad of three semitones, 
would make no more than a tone and a half. But the con- 
crete pitch or vanish of these radicals, which thus descend 
by a tone, is made through the space of a semitone ; and the 
plaintive character of the melody is thus communicated to 
its close. 

It deserves to be remarked here, that a passage which 
requires the intonation of the chromatic melody, may some- 
times be terminated by the plain diatonic triad ; whether 



MELODY OF SPEECH 231 

that close is made by separate, or by conjoined constituents; 
as illustrated in the history of that cadence. And further, 
that unimportant and slightly marked particles in a chro- 
matic sentence, may receive a radical and vanishing whole 
tone, without deducting much from the plaintive, expres- 
sion ; provided the semitone is heard on all the important 
words and long quantities of the sentence. The forms of 
the diatonic cadence, which may be occasionally applied to a 
chromatic melody, are described in the sixth section. I here 
take notice of those forms of the close which carry a plain- 
tive expression. 

The chromatic cadence "may be made on a single long 
syllable : or it may be allotted to two syllables : or the space 
of its descent may be divided between three. 

When the three constituents are joined severally to three 
syllables, the close is made by taking the radicals, at the 
interval of a whole tone in descent from each other ; and by 
giving to each of the constituents, except the last, the rising 
vanish of a semitone: the last having the feeble downward 
vanish, such as belongs to the diatonic cadences. This is 
exemplified in the following notation: in which the lines 
and spaces still designate the difference of a whole tone, 
except in the measuring of the concrete issue of the points, 
and of the upward change of radical pitch; both of which 
must be taken as indicative of the space of a semitone. 

Pit — ty the sor rows of a poor old man. 



It is true, that the last constituent may terminate with a 
downward semitone ; or it may rise through a semitone, and 
then in continuation descend concretely below the pitch of 
its radical; thus carrying the plaintive expression to the 
very close. But in this case, the perception of the cadence 
will not be so complete as when made according to the 
above notation. 



232 THE CHROMATIC 

The chromatic triad may also be made by assuming the 
above construction, and by joining the constituents through 
a downward vanish: the plaintive character still flowing 
from the semitonic rise of its two first constituents, thus i 




When the plaintive cadence is allotted to two syllables, 
the first constituent rises through a concrete semitone ; and 
the voice is continued from this vanish into the last syllable, 
which ends in a feeble downward movement, in this manner: 



man. 




The chromatic close may be made on a single long sylla- 
ble : but its effect is bad, and it is perhaps never used in 
correct speech, except for some special design of expression, 
which has no necessary connexion with the mere cadence. 
The inadmissible nature of this cadence arises from the use of 
the upward semitone, w 7 hich must be heard on the first part 
of that syllable, for the purpose of giving a plaintive con- 
struction to the close. Now the continuation of this rising 
semitone into the downward third, has a character of ex- 
pression, which may indeed embrace the effect of a close : 
but it does at the same time, join with it an intonation of 
affected mockery, altogether foreign to the desirable and 
appropriate character of the simple cadence. 

There is still another form of the Chromatic close, resem- 
bling the skipping cadence of the diatonic melody. It con- 
sists of a concrete semitone on the antepenult syllable, and 
an immediate discrete descent by radical pitch to the final 
constituent of the triad ; omitting the second altogether. 
We do not need a diagram of this form, since it is shown by 
the last example of notation, when deprived of the concrete 



MELODY OF SPEECH. 233 

junction of the two constituents. It is rarely used as a 
close ; and only when some peculiar emphasis is required on 
the last word of the sentence. 

As in the diatonic cadence, so in the chromatic, there are 
different degrees of repose: and these depend on its con- 
struction. That entire consummation which is demanded 
at the period of discourse, is effected by the triad form of 
the first of the above notations. The second which is still a 
triad, but which has its constituents conjoined by the down- 
ward vanish, has perhaps a character of somewhat less 
repose than the first : since the radicals are less distinctly 
marked by the explosive fulness, which belongs to them 
when they are not conjoined ; and it is this conspicuous 
display of the descent of the radical pitch which gives the 
marked effect of conclusion. The third construction repre- 
sented above, is the most feeble form of the chromatic ca- 
dence ; for being made upon two syllables, it has less of the 
character which is derived from the change of downward 
radical pitch. This mode of cadence then falls short of the 
expression required for a satisfactory close. 

In concluding this history of the five enumerated intervals 
of pitch, and of their uses in elocution, I have only to add, 
that the intervals of the Fourth, Sixth, and Seventh are used 
in speech for purposes of expression similar to those of the 
intervals which adjoin them, and which have been described 
above. The third, fifth, and octave which are adjacent to 
those three intervals, are more easily recognized by the ear, 
not only upon the discrete steps of an instrumental scale, 
but also through the continuous slide, in the human voice. 
On this account therefore, the enumeration in the preceding 
sections has been limited to certain five intervals of the 
natural scale. I have not particularly enquired into the 
properties of the remaining three, believing that they do not 
possess any that are peculiar : and I have not thought the 
investigation worth further attention. 
30 



234 THE DOWNWARD RADICAL 



SECTION XIX. 



Of the Downward Radical and Vanishing Movement. 

The functions of pitch hitherto described, are performed 
principally by a rising progress of the concrete, and of the 
radical change. 

In an early page of this essay it was shown that the voice 
may take a reverse direction; that the radical movement, 
opening with fulness on a given place in the scale, descends 
through its destined interval, with that equable concrete 
structure and diminishing force which characterizes the up- 
ward vanish. We must now consider the varieties of form 
in the downward concrete, the occasions of its use, and the 
nature of its expression. 

The downward progress of the voice is made through all 
the intervals named in speaking of its rise. In like manner 
with the rise, the descending transition is both by a con- 
crete movement, and by a discrete change or skip of the 
radical pitch. The effect of the descent, whether done con- 
cretely or by discrete skip, may be perceived, and the cha- 
racteristic expressions of the several intervals rendered pre- 
cisely cognizable, by means of the following experiments. 

Let the reader express himself with astonishment on the 
exclamatory phrase, well done; taking care that the first 
word is assumed at a high pitch ; that the last descends 
concretely from that height with an unusual prolongation of 
quantity ; and that the words are uttered as if they formed 
the close of a sentence. Should the intonation of the word 
done be according to the manner here proposed, it will 
exemplify the Downward concrete of the Octave. Again — 
let him give the interjection, heigh ho, with that degree of 
emphasis which may throw these two words on the ex- 



AND VANISHING MOVEMENT. 235 

tremes of the compass of the natural voice. He will there- 
upon find that the transition from the elevated pitch of 
heigh, to the inferior place of ho, will be by a discrete or 
skipping descent. Now this transition, when the intonation 
is pointedly marked as above directed, is made by the down- 
ward Radical pitch of the octave. 

The Downward Fifth, may, in like manner be distin- 
guished, both in its concrete pitch and in its discrete radical 
change, by respectively applying them to the words of the 
preceding examples ; but with less emphasis, and with a less 
vivid coloring: of intonation. 

The concrete Descent of the Third may be illustrated, by 
pronouncing the word No, as if it were the last word of a 
sentence ; observing to give it some length, and to exclude 
from the utterance every expression except the simple indi- 
cation of the cadence. The downward Radical pitch or 
skip of the third, may be exemplified by pronouncing the 
phrase made an attack, as if it were a full close ; giving the 
syllables made an at, in the monotone, and making the satis- 
factory close on tack. For, in this case the syllable at is 
the first constituent of the triad : and being by its short 
quantity, incapable of completing the cadence through the 
descent of the slow concrete, the voice of necessity leaps 
over the place of the second constituent, and closes on tack, 
in the proper point of the third. 

The effect of the Downward concrete Second or tone may 
be made familiar, by attending to the last constituent of the 
diatonic triad. The radical change of the second may be 
heard in the descent of the constituents of the same cadence; 
since its radicals succeed each other by the downward dif- 
ference of a tone. 

The downward concrete of the Semitone was described 
in the last section, as being plaintively obvious in the vocal 
transition from the eighth to the seventh place of the scale. 
If it is true, as I have ventured to assert of the chromatic 
current melody, that its downward change of Radical pitch, 
is like that of its cadence, a whole tone, it follows that we 



236 THE DOWNWARD RADICAL 

have no instances in speech, of the discrete downward pitch 
of the semitone. But we leave this for future observers. 

If the reader is by this time expert in ascending both con- 
cretely and discretely, through each of the intervals of the 
scale, he may, after ascending, immediately return through 
the same interval, whilst the impression of its extremes 
remains on his ear ; and thus in another manner become 
familiar with the different extent of the downward move- 
ment, both in its concrete and discrete progress. 

We have been considering the downward movement on 
long quantities: but like the rising progress, it may be shown 
on immutable syllables : the transit through the given inter- 
val being rapidly performed. Yet it must be remarked that 
when the characteristic expression of an interval is required 
on immutable syllables, the transition is generally made by 
the change of radical pitch. 

The expressive powers of the downward radical and 
vanish will be assigned, in a subsequent consideration of the 
particular intervals of the scale. As a general remark on 
its character, it may be said in contradistinction to the effect 
of the rising Third, Fifth, and Octave, which have an inter- 
rogative meaning. — that the downward progress through 
these divisions of the scale expresses a positiveness of 
affirmation which is directly the reverse of the doubt con- 
tained in a question. Some other inquirer may hereafter 
more accurately refer this expression of the downward con- 
crete, to a general class of phenomena in vocal science ; and 
thus satisfy the demands of philosophy. I cannot, however, 
withhold the suggestion, yet wishing to be cautious with a 
mere analogical argument, that the positiveness of character 
which belongs to it, may arise from its conjoining with its 
emphatic import, a certain degree of the final impression of 
the cadence : for this seems to preclude the expectation of 
further doubt or reply, by the satisfactory repose of the ulti- 
mate intonation on a finished sense. In corroboration of this 
suggestion, let us bring to mind, that the replications of 
doubtful argument in dialogue, from the yielding of mutual 



AND VANISHING MOVEMENT. 237 

civility between the speakers, are not marked so freely with 
complete cadences, as the termination of the sense in many 
of the phrases would otherwise bear. But we know that 
when assertions become authoritative from truth, or dog- 
matic from opinion, the closing intonation of the cadence is 
employed as the definite seal of self-confident affirmation. 

After all, however, the strict duty of philosophy reproves 
us for our conjectures, and allows us here, only to set forth 
this new instance of the consistent ordinations of nature : for 
as the sentiment of inquiry is the direct contrary in the 
human mind, to that of assured declaration, so in the instinct 
of the voice, for the expression of these opposite sentiments, 
the very opposite movements of rise and of fall, are em- 
ployed for their respective modes of intonation. 

The downward vanish is used for the purpose of emphasis, 
as will be particularly marked in a future section. It has 
nearly an equal power of attraction over the ear, with the 
upward vanish. The expression of amazement, wonder, 
surprise, and admiration, when not conjoined with an inter- 
rogative meaning, is generally made by this form of into- 
nation; the extent of the interval being proportional to the 
degree of energy in the sentiment. As the downward con- 
crete is formed in the same manner with the rising, having, 
metaphorically speaking, but a different direction, we may 
ascribe the same mode of construction to each. The same 
explosive fuln :ss should mark the radical ; there should be 
the same equable movement in its descent ; the same deli- 
cate and smooth diminution and final vanish into silence. 

After these general remarks on the subject, we proceed to 
the history of the particular intervals of the downward con- 
crete. 



238 THE DOWNWARD OCTAVE. 



SECTION XX. 

Of the Interval of the Downward Octave. 

The concrete Downward Octave, in addition to the ex- 
pression, ascribed generally to the downward movement, 
conveys in the colloquial uses of the voice, the vivacity of 
facetious surprise, as in the instance of the phrase well done, 
given above. It is in this case, the very picture of amaze- 
ment, and so to speak, raises the brow and opens the eye of 
the voice. In its more dignified uses, there is the highest 
degree of admiration or astonishment, either alone, or united 
with other sentiments. Thus the astonishment and positive- 
ness marked by this interval, may be coexistent with the 
complacent feeling of mirth and sociability, or with the 
repugnant sentiment of fear, or contempt, or hatred, or in 
short, with almost any state of mind which is not contradic- 
tory to that astonishment and positiveness. For though 
these superadded sentiments have other symbols in expres- 
sion, yet when they go with this high degree of astonish- 
ment, the downward octave is the true and only sign of the 
combination. 

But as the same interval can thus represent different sen- 
timents, it may be inquired, — whether some modification of 
its structure may not be necessary; and if so, how it is 
modified. It will be particularly shown in a future section, 
that the concrete movement, whether its direction is upward 
or downward, may bear with distinguishable audibility, 
additional force on the beginning, or on the middle, or on 
the end of its progress through a prolonged quantity. The 
names and further uses of these three kinds of stress will be 
given hereafter. Now in the appropriation of these forms 
of the downward octave, to the different sentiments which 



THE DOWNWARD FIFTH. 239 

were said to be within its expression, the simple or natural 
form of the radical and vanish is assigned to the feeling of a 
high degree of mirthful wonder. When the force is laid on 
the middle of its course, by a swell at that place, the ex- 
pression becomes more serious and repulsive with its won- 
der. And when force is applied to the lower extremity, 
reversing thus the natural structure of the radical and van- 
ish, it increases the degree of the repulsion, and mingles with 
it some slight sentiment of anger and of scorn. The charac- 
teristic thus assigned to the octave, might at once assure us 
that it is of rare occurrence. It may be found occasionally 
in the intensity of colloquial excitement, and in the fervor of 
the drama : but never, perhaps, in the course of narrative or 
description, since the strained energy of its expression must 
be the real or the personated pouring out of the heart. 



SECTION XXI. 

Of the Interval of the downward Fifth* 

The expression of the last described interval is marked 
by a quaint sentiment of familiarity, or by an excessive de- 
gree of violence. The Downward concrete Fifth has in 
many respects a similar meaning ; but it clothes its senti- 
ment of smiling surprise, and of admiration whether passive 
or intense, with greater dignity than the octave. This 
interval is often used on imperative phrases. Its concrete, 
like that of the octave, may be modified in meaning by the 
different applications of stress. 

The following derisive exclamation of Gabriel to Satan, 
in the fourth book of Paradise Lost, is properly made by the 



240 THE DOWNWARD FIFTH. 

natural form of the fifth t that is, by stress on the radical or 
opening portion of the interval, whilst the vanish dwindles 
away in its descent. 

Courageous chief? 
The first in flight from paint 

The syllable ra, here signalized by italics, is made by 
the natural or unaltered radical and vanish of the falling 
fifth. 
When the Queen says to Hamlet — 

If it be, [that is, if uVath be the common IotJ 
Why seems it so particular with thee % 

Hamlet returns, — 

Seems, Madam, nay it is! I know not seems. 

Now, is, — here marked in italics, when uttered with the 
natural downward concrete of the fifth, represents most 
perfectly the positive affirmation and surprise of the speaker, 
at the misconception of his real state. But the solemn feel- 
ing of the prince, which rejects, with some little indignation, 
the profanity of the supposition, that there is any formal 
show in the deep reality of his grief, cannot be expressed by 
the natural form of the radical and vanish. There is a light 
and pleasant surprise in this mode of the concrete which 
would misrepresent the sentiment. But if the voice is 
swelled to a greater stress as it descends, the grave severity 
and dignified convictiou of the speaker become at once con- 
spicuous. The intonation of this line, without, however, the 
swelling stress on the falling fifth, may be thus delineated : 



Seems, Ma 




Here a rising third, or the most moderate form of in- 
terrogative expression, is set to the first word ; for there is 



THE DOWNWARD FIFTH. 241 

in it a slight sentiment of inquiry. The succeeding clause, 
which contains a most positive affirmation, has the down- 
ward fifth; and the whole scheme is calculated to show the 
opposite powers of expression in the rising and falling inter- 
vals. In a future section, it shall be shown, why the radical 
of the downward movement, as here represented, is set so 
far above the line of the current melody. 

The Discrete transition of the falling fifth, or the change 
of radical pitch through that interval, has somewhat of the 
expression of its concrete form. It is applied on those 
syllables which will not bear a prolongation, necessary for 
the concrete ; and on the occasions of its employment, the 
two extremes of the interval are made on two different 
syllables. The following notation will exemplify the radical 
change or skip of the falling fifth: 




The sentiment of this line, as it seems to me, requires the 
intonation of grave surprise rather that that of contemptuous 
contradiction, with which it is sometimes read. The craft 
of Antony's oration, in Julius Ccesar, turns upon the design 
to excite odium against the conspirators, by the favorable 
and moving representation of Caesar's virtues, rather than 
by the coloring of their crimes. And though in the well 
known burden of the speech, they are reported as ' honorable 
men,' certainly not with the least good will in the title ; still, 
the vocal curl of sneer, which we sometimes hear on this 
phrase, is inappropriate and affected. At least this may be 
said of it, as it occurs in the early part of the speech : and 
when at last the speaker is encouraged to bolder sentiments 
and declarations, they are those of anger and revenge ; 
which waste no time in the winding circumflex of con- 
temptuous intonation. But whatever may be said of other 
parts of the speech, I must claim for the line above noted, 
31 



242 THE INTERVAL OF 

the mode of intonation which expresses the surprise of the 
orator, that any one could so violently reverse the jus con- 
clusions to be drawn from the motives and actions of Caesar, 
which he had just enumerated : leaving to the audience to 
infer, from this surprise, that some other than ordinary or 
honest reasons must have influenced Brutus to make the 
ascription of ambition to Caesar. When the notation of the 
passage is made in the common diatonic melody, with the 
difference of a tone only in the changes of its radical pitch, 
it merely makes a report of what Brutus had said : without 
the least show of the sentiment I have ascribed to it, and 
have endeavored to illustrate by the preceding diagram. 



SECTION XXII. 

Of the Interval of the Downward Third. 



In general description, the Downward Concrete Third 
may be said to carry the moderate expression of the fifth. 

The dignity of vocal character, like that of personal ges- 
ture, consists not only in the abatement of force, and in the 
slowness of time, but in a limitation within the widest range 
of movement : And as there is more composure and solemnity 
in that form of interrogation which is made by the rise of the 
third ; so the expression of surprise and admiration which 
belongs to the downward intervals, is in its most subdued 
and dignified degree, when heard on the falling third. 

One of the remarkable functions of the concrete descent 
of the third, is that which is performed on a syllable of long 
quantity, when found at the end of a sentence, or of a clause 



THE DOWNWARD THIRD. 243 

which contains a complete sense, but which may not be 
marked by the grammatical notation of a period. This use 
of the third was noticed and illustrated in the sixth section, 
and there described as constituting the feeble Cadence. Its 
character is not quite definite : for it indicates that the sense 
may be taken as terminated at its place ; and yet it does not 
altogether destroy the expectation of a further continuation. 
No one on hearing this cadence, would suppose the discourse 
to be necessarily finished. 

As the rising third is sometimes used for emphasis alone, 
independently of its interrogative import ; so the falling third 
may be employed, as the means of emphatic distinction, 
merely for the purpose of varying the effect of intonation. 
This may be illustrated by the following notation. 



None 


but the 


brave ! 


None 


but 


the brave ! 




^ tf 




& 


4 


of sk 


4 


^p SSf 


4 


V 


• ^ 



None but the brave de serve the fair. 



^^4—^—^=4^ 



There is certainly no inquiry conveyed by these words : 
yet we have the rising interval of the third on one of the 
emphatic syllables. But there is a feeling of admiration in 
the case which may be expressed by the upward third. 
And it will be shown hereafter that all emphatic words, 
whatever other sentiments they may comprehend, do carry 
with them something of the admirable. On this ground then 
all the emphatic repetitions of the word brave might receive 
the same interval. I have varied the intonation by setting 
the plain rising tone to the first brave, the downward third 
to the second, and the rising third to the last: and this ap- 
propriation together with the falling third on the word none, 
does at least produce a varied effect. Speakers who are 
not aware of all the efficacy of intonation, or who cannot 



244 THE INTERVAL OF 

skilfully command it, endeavor to attain a desirable variety 
in this case, by the transfer of emphasis. They apply it in 
the repetition, successively to none and but and brave 
Regarding here the apparent purpose of the poet, and the 
consistent design of vocal expression, this variation of empha- 
sis is altogether inadmissible. The contradistinction made 
in this case, by applying stress to different words, in each 
repetition, gives different meanings to the phrase. But re- 
iteration is the rhetorical sign of fulness of feeling, or of its 
rising energy ; and never of a change of sense. The at- 
tempt therefore to vary the meaning of this phrase, which 
must be identical under any change of emphasis, offends 
against both dignity and truth, and betrays a limited power 
over all the means of vocal variety. The full command of 
quantity, and of the numerous modes of expression, ren- 
ders it easy to relieve the ear from monotony on this pass- 
age, without changing or distorting the sense of the author: 
which, if the composition was a prompting of poetry, and not 
a mere trick of emphasis, must have been intended to be one 
and the same, in all the repetitions. 

In the above notation, I have not illustrated the uses to 
be made of time and force : though both are available in this 
case, and give additional means for variety. 

The downward radical pitch of the third which consists 
of a skip of three degrees, is employed for the purpose of 
emphasis : particularly where this is necessary on immutable 
syllables. But there is a special use of this interval, for 
effecting a full consummation of the close of melody which 
must not be overlooked. In the sixth section it was shown 
that different species of the cadence denote various degrees 
of repose : the triad form, in which each of the radicals with 
its downward vanish, is heard distinctly in successive de- 
scent, being the most marked indication of the period. It is 
possible, however, to increase the characteristic of this form 
by additional means. A gradual descent of the current 
melody as it approaches the cadence, is sometimes employed 
with that intent ; and properly. But another more elegant 



THE DOWNWARD THIRD. 245 

and impressive mode is, to apply the downward radical 
change of the third, on some syllable preceding the close, as 
in the following notation. 



Through 


E den took their 


sol i ta ry way. 


tf 


d 4 4 


rfUi^L^ 


W 


4 



When this line is read with the diatonic radical succession 
throughout, the cadence, with its three descending radicals 
and concretes, does indeed mark a completion of the sense ; 
but the application of a downward radical change of the 
third on took, gives that warning of the period, or note of 
preparation, which produces the utterly reposing conclusion 
that is required by the audience, and should be effected by 
the reader, on this last line of Paradise Lost. 

Other cadences denote, in various degrees, the conclusion 
of a particular sense. This Prepared cadence, if I may so 
call it, implies that the subject itself, of a paragraph, a chap- 
ter, or a volume, is finished. 
Let us here take a view of the various kinds of cadence. 

In the sixth section, five modes of the diatonic cadence 
were enumerated. Now the Prepared form just described 
may be united with each of these, thus constituting ten 
distinct species : to say nothing of the chromatic. These 
should be severally employed by speakers, not only to give 
just expression to the close ; but likewise for the purpose of 
variety. If it would add precision to this subject, some of 
the forms of the cadence might be specifically named. 

The first form described in the sixth section may be called 
the rising triad: because it consists of three constituents; 
and two of them have the upward vanish. 
The second form may be called the falling triad. 

The third may be called the first Duad : because it has 
but two constituents ; the first embracing the space of two 
tones. 



246 THE DOWNWARD SECOND AND SEMITONE. 

The fourth may be called the second Duad : because with 
only two constituents, the last occupies the place of two 
tones. 

The fifth may be called the Monad form of the cadence, 
from the space of the three constituents being executed on 
one syllable. 

It is not expected that the reader will be able at once to 
distinguish all these modes of the cadence : nor is it neces- 
sary. Some of them, however, cannot be mistaken. The 
prepared form when set before the falling triad, is the most 
complete close ; and this is clearly separable from the monad, 
or what was called the feeble cadence, which gives the faint- 
est indication of the period. I believe no ear will confound 
the effect of either of the triads, the monad and the prepared 
cadence. 

I have little to say of the downward minor third ; its ex- 
pression, like that of its upward concrete movement, is plain- 
tive ; but as well as my ear informs me, it is not used for 
those purposes ascribed to the major third. 



SECTION XXIII. 

Of the Downward Second and Semitone, 

I have classed the Downward Second and Semitone, 
under the same head, an account of the limited extent of the 
remarks here made upon them. They have a high import- 
ance in speech, but it is principally as downward continua- 
tions of their previous rise, into that form of intonation which 
has been called the circumflex ; but which, in the next section 
will be named the Wave. 



THE DOWNWARD SECOND AND SEMITONE. 247 

The most remarkable use of the dowward second or tone, 
is as the last constituent of both the diatonic and the chro- 
matic cadence. It forms severally the constituents of the 
falling triad: and is used in plain melody, for the purpose 
of varying the impression of the rising second, which, in the 
history of that melody, was given as its characteristic. 

The downward semitone is sometimes employed for the 
purpose of variety, in the current of a chromatic melody. It 
may also be applied to the first and second constituents of a 
chromatic cadence ; the radical descent of this cadence being 
by the skip of a whole tone ; and the downward vanish on 
the last or closing concrete, being through the space of that 
same second or tone. 

In terminating the history of the downward intervals, one 
cannot avoid pausing for a moment, in admiration at the 
simple and well adjusted means which nature has appointed, 
for the multiplied combinations and apparent complexity of 
vocal expression. Nor can the prophetic eye of science and 
taste, well look on their available means, without reaching 
to some foreknowledge of that Systematic Art of Speech, 
which at no distant day, must be raised upon the new and 
lasting foundation of Analytic Elocution. I have not ex- 
tended the inquiry, nor made application of the principles 
founded thereon, to the entire detail of the subject ; being 
contented to encourage others towards a work of greater 
range and precision, by setting before them what is here 
accomplished in a case of supposed impossibility. For I am 
persuaded there will be some beautiful finishing of that sys- 
tem for the ordering of speech, which is here but just begun. 
He who chooses to follow the path thus opened, may fortu- 
nately find himself among the first comers to an ungathered 
field : a field which has been unvisited and unclaimed only 
because it was believed by the indolent, to be barren or 
inaccessible ; or because the eye of irresolute inquiry has 
been turned from the leading star of observation, by the vain 
attractions of theory, and the delusive authority of names. 
For what does the term, genius for discovery mean, besides 



248 THE WAVE OF THE VOICE. 

— the art of forgetting ourselves and others, and looking 
exclusively and perseveringly at our work? Too many, alas! 
imagine they are doing all these things, when they are only 
thinking of notoriety, and hunting after the favorable 
opinion of mankind. 



SECTION XXIV. 

Cf the Wave of the Voice. 

The term Wave of the voice is here used to signify a con- 
tinuation of the upward into the downward concrete move- 
ment. This function was known to the Greeks : and is 
noticed by modern writers, particularly by Mr. Steele and 
Mr. Walker, under the term, Circumflex accent. 

As the wave is composed of the two opposite courses of 
pitch, each of which has its different intervals; and as the 
direction of the outset of the voice, and the number of its 
flexures may vary, the reader must expect to find in the his- 
tory of this symbol, numerous and somewhat complicated 
subdivisions. 

The Wave is a very frequent mode of expression, and 
performs important offices in speech. It therefore becomes 
him who is willing to turn from the falterings of an instinc- 
tive elocution, to the fulness, the purpose, and the precision 
of scientific rule — it becomes him not to overlook the subject 
of the wave. 

In order to represent this matter clearly, let the several 
upward and downward movements, which by their con- 
tinuity make the wave, be called the Constituents. It is 
plain then that the constituents may be, octaves or fifths or 
thirds or seconds or semitones. 



THE WAVE OF THE VOICE. 249 

Further, as the upward and downward concrete may be 
of various dimensions, it follows that the wave may be con- 
stituted of an upward and downward movement of the same 
interval ; or these constituents may differ from each other 
in extent. Thus the wave may consist of a rising and a 
falling third conjoined, or of a rising second continued into 
a falling third. These varied modes of construction give 
occasion for a distinction of the wave into Equal and Un- 
equal. 

It will be found on experiment, that the wave with its 
first constituent ascending, and its second descending, has 
a different character of expression from one, which by first 
descending, has a reverse course of its constituents. Of the 
variations thus produced, let the former case be called the 
Direct wave, and the latter the Inverted. 

I have thus represented the wave as consisting of two con- 
stituents only ; but it may have three or even more ; for the 
Direct may have a subsequent rising interval, and the In- 
verted, a subsequent falling one. When there are but two 
constituents it may be called the Single, and when three, 
the Double wave. Should there be more than three, as 
may happen in some cases, to be pointed out presently, it 
may be called the Continued wave. 

By reflection on these distinctions, we may discover their 
reciprocal relations. Thus the equal and the unequal wave 
may each be direct and inverted — single and double. The 
double-unequal may have its three constituents dissimilar, 
or two of them — the first and second, or second and third, 
or first and third may be alike. The direct and inverted, 
may each be equal or unequal — single or double. And the 
single and double may each be equal or unequal, — direct or 
inverted. 

But perhaps these relationships will be better understood 
from the tabular view in the next page. 
32 



250 



TABULAR VIEW OF THE WAVE. 



Equal, 



Single, § > 



Direct, 



Z. be 
Inverted, c— < 



< 



< 



M 



Double, j>< 



Direct 






® tot 



5 

bO 

c 

"5 



Inverted, c^| ■* 



fc 



Octave, 

Fifth, 

third, 

Second, 

Semitone, 

Octave, 

Fifth, 

Third, 

Second, 

Semitone, 



Octave, 

Fifth, 

Third, 

Second, 

Semitone, 

Octave, 

Fifth, 

Third, 

Second, 

Semitone. 



o 
Unequal. « < 



c 
o 
o 
be 
C 
> 

BJ 



Single, 



Direct, .§■ 






Octave, 

Fifth, 

Third, 

Second, 

Semitone, 



5 be 

Inverted, c Jl < 



"es f Octave, 
Fifth, 
Third, 



Second, 
Semitone, 



Double, ® < 



C 
1 



-S bb 
Direct, .5 B 4 



Inverted, Jj Jf ; 



r Octave, 
Fifth, 
Third, 
Second, 
Semitone, 

Octave, 

Fifth, 

Third, 

Second, 

Semitone, 



THE WAVE OF THE VOICE. 251 

In the preceding table, only the first constituent of the 
unequal wave is given. I therefore subjoin a tabular scheme 
of the second and third constituents of this wave, in its single 
and its double forms. But the reader is to take this delinea- 
tion as the history of what is or what may be performed by 
the voice, in the multiplicity of its combinations ; not as the 
record of a point, as yet, of any practical utility. 

In thus penetrating the recesses of nature, we must be 
allowed to describe her most minute phenomena, however 
presently useless it may be. Now nearly all of the condi- 
tions of the voice here noticed, may be made designedly by a 
skilful use of intonation ; and they are perpetually made in 
daily discourse, by the instinctive efforts of speech. But the 
expression of the unequal wave, as far as I can perceive, is 
limited to a few sentiments : most of the varieties here given, 
being only permutations of constituents, answering the same 
purpose. Whether these symbols, which are not specially 
significant with us, have ever among nations been made the 
signs of ideas or feelings, is yet to be told. We have heard, 
that the Chinese vary the meaning of the same elemental or 
syllabic sound, eight or ten times, by changes of intonation. 
Do they draw upon any of the forms of the following table 
of the unequal wave 1 



252 



TABULAR VIEW OF THE WAVE. 



The first consti- The second con* The third con- 

tuent being stiuent being stituent being 

either a either a 



Single. < 



Direct 
or 
Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



an Octave. 



Fifth. 



a Third. 



a Second. 



a Semitone. 



Semitone 
second 
third or 
filth. 



( Semitone 
7 second 
} third or 
V octave. 



Semitone 
second 
fifth or 
octave. 

Semitone 
third 
fifth or 
octave. 

Second 
third 
fifth or 
octave. 



Double. 



Direct 

or 
Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



Direct 

or 

Inverted, 



C Semitone 
I Second 
) Third 
? Fifth or 
I Octave. 

" Semitone 
second 
third 
fifth or 
octave. 

Semitone 
Second 
Third 
Fifth or 
Octave. 

Semitone 
Second 
Third 
Fifth or 
Octave. 
Semitone 
Second 
>a Semitone.<s Third 
Fifth or 
^ Octave. 



► an Octave. 



Fifth. 



a Third. < 



a Second. < 



I 



Sem. 2d 3d 5th or 8th. 
Sem. 2d 3d 5th or 8th. 
Sem. 2d 3d 5th or 8th. 
Sem. 2d 3d 5th or 8th. 
Sem. 2d 3d or 5th. 



Sem. 
Sem. 
Sem. 
Sem. 
Sem. 

Sem. 

Sem. 

"S Sem. 

Sem. 

^Sem. 

J Sem. 
J Sem. 

Sem. 

Sem. 
LSem 
~2d3d 

Sem 
^ Sem 
I Sem. 
V.Sem. 



^ c 



2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d or 8th. 
2d 3d 5th or 8th. 

2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 

2d 3d 5th or 8th. 
3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 
2d 3d 5th or 8th. 



THE WAVE OF THE VOICE. 253 

From a comprehensive view of this table it will be mani- 
fest to the reader, that there are several different modes in 
which these functions may be arranged. Any of the dis- 
tinctions given above might be taken as the generic heads of 
the wave: and the others might be included as species. 
Thus we might take the five intervals for the heads of as 
many sections. Then under each, for instance the octave, 
we might consider, — first, the equal form of this interval, 
and its combination with other intervals into the unequal 
form; secondly its direct and inverted, and thirdly its single 
and double forms. Or we might take the distinction into 
single and double for the two generic heads, and under each 
of these, enumerate the species, as being equal or unequal, 
direct or inverted : and so of any other assumed order of 
these distinctions. 

I shall, according to the arrangement in the table, divide 
the phenomena of the wave in two great classes, the Equal 
and Unequal ; and subdividing each of these by the five in- 
tervals of the scale, I shall under the heads of these intervals 
consider the direct and the inverted, the single and the dou- 
ble forms of this element. 

The pains which have been taken to define the technical 
terms of this essay, and the many illustrations which have 
been given, must have rendered the nomenclature and pic- 
ture of the scale quite familiar to those who really desire to 
learn. The description may therefore be so easily under- 
stood, that it is unnecessary to give a notation of the wave. 
The reader may mark it for himself, and apply it to those syl- 
lables that convey the sentiments which will be hereafter 
assigned to its different forms. Some examples of its use 
will be given in a future section on emphasis. 

In order to understand the purpose, and expression of the 
wave, let us recollect that this element is compounded of a 
rising and of a falling interval, the respective expressions of 
which have already been described. Now it will be found, 
that the wave generally partakes of the respective powers of 
its constituents ; and further, that by its continuous flexure 



254 THE EQ.UAL WAVE OF THE OCTAVE. 

it enables the voice to carry on a long quantity, without the 
risk of falling into the intonation of song. 

The wave in all its forms, is modified by the application of 
stress to different parts of its course: the particulars of 
which will be described in another place. But it may be 
remarked here, that it is applied at the beginning or at the 
end of the line of the wave, or at the place of junction of its 
constituents ; and that the addition of force to its termination 
gives to the several species of the equal wave, a coloring of 
temper and of scorn, which they do not possess in the natu- 
ral or dwindling form of the concrete. 



SECTION XXV. 

Of the Equal Wave of the Octave, 

The Equal Wave of the Octave, is made by a continuous 
movement of the voice, in the succession of its upward and 
its downward interval. It may be either single, consisting 
of two constituents ; or double, consisting of three: though 
this double form is scarcely used. It may also be differently 
constructed, by the first constituent ascending, and the second 
descending, which forms the direct wave ; and by a reversed 
succession, which forms the inverted wave. 

The equal wave of the octave in its single form is rarely 
employed in serious discourse. If used in the lower range 
of pitch, so as to avoid the sharpness of the falsette, it gives 
an appropriate expression to the strongest sentiment of as- 
tonishment and of admiration. When it assumes the higher 
range, as it is apt to do, it loses its dignity as an impressive 



THE EaUAL WAVE OF THE FIFTH. 255 

symbol. Children sometimes employ it for mockery in their 
contentions and their jests. Its double form has the same 
expression, under a more continued quantity. The reverse 
order of its constituents, give a different character, respec- 
tively, to its single direct and its inverted forms ; for the 
latter by ending in an upward concrete carries the power of 
interrogation ; whilst the former by a downward final move- 
ment, has the positiveness which was ascribed to the falling 
intervals when uncompounded. When the direct and inverted 
wave of the octave is double, the rule of final expression will 
be reversed ; for the direct will then end with the rising or 
interrogative movement. 

On the whole, this element, claims attention rather as a 
part of our physiological history, than as a subject of ora- 
torical propriety and taste ; and may in point of use and ex- 
pression, be classed among vulgar mouthings. 



SECTION XXVI. 

Of the Equal Wave of the Fifth. 

Enough has been said of the nature of the Wave, and of 
intervals, to render it unnecessary to define the Equal Wave 
of the Fifth. Its nomenclature is descriptive of its structure. 
Nor need it be shown particularly of this, nor indeed of the 
succeeding sectional heads of the wave, in what manner their 
single and double, their direct and inverted forms are made. 

The equal wave of the fifth, in each of its modes, is used as 
one of the means of emphatic distinction ; and has therein 
an expression varying with its form. The equal single di- 



256 THE EQ.UAL WAVE OF THE FIFTH. 

rect wave of the fifth consists of an ascending and descend- 
ing concrete, which have in their separated state, respec- 
tively, the sentiment of interrogation and surprise. But the 
conjunction of the opposite movements of those concretes, 
takes from the ascending interval, its indication of a ques- 
tion, and leaves the impressiveness of surprise or admiration 
on the syllable to which it is applied. But there is another 
effect produced besides this annulling of interrogation. We 
have already learned that there is some difference between 
the expression of the rising and of the falling concrete. The 
former is more cheerful and animated in its cast, the latter 
more deliberate and grave. v Now, when discourse, which 
requires an impressive intonation of the fifth, is of a dignified 
character, that impressive intonation is given to the emphatic 
syllable by a continuation of the upward into the downward 
flow of this interval, in the form of its direct wave. But 
further, this wave is used instead of the separate rise or fall 
of its interval, for the purpose of giving more quantity to the 
syllable which bears it. The emphasis of the simple fifth, 
was described in the fourteenth section, without a special 
reference to its time : but if the sentiment of the phrase is 
such as to require an unusually long quantity, this wave or 
continuous and downward turn of the fifth, takes the place 
of that simple ascending interval, which, in unskilful intona- 
tion, might be liable to pass into song. 

The inverted wave of the fifth has the compound expression 
of surprised interrogation, arising out of the termination of 
its last constituent in the upward vanish of an interrogative 
interval. 

There is not much difference between the expression of the 
single and of the double wave of the fifth, except that ari- 
sing from a change of structure by the addition of a third 
constituent. The double direct here assumes an interrogative 
expression, from the vanishing rise of its last constituent ; 
and the double-inverted has the meaning of surprise from its 
downward termination. Perhaps there is a little scorn con- 
veyed by the double forms of the equal wave of the fifth. 



THE EaUAL WAVE OP THE THIRD. 257 

This is certainly the case when the last constituent receives 
greater stress than the others. On the whole, however, this 
double form is not very frequently used as a symbol of 
expression. 



SECTION XXVII. 

Of the Equal Wave of the Third. 

The Equal Wave of the Third, as regards the degree of 
its expression, bears such a relation to the equal wave of the 
fifth, as the simple rise of the third bears to the simple rise 
of the fifth. 

In all its forms, whether single or double, direct or invert- 
ed, the expression resembles respectively the different species 
of the equal wave of the fifth. The third, however, has in 
its several forms, a moderated degree of the characteristic ex- 
pression of the several forms of the fifth. From its reduced 
degree, it is of more frequent occurrence as the means of 
emphasis in unimpassioned utterance, than the fifth and the 
octave, which belong especially to the spirit of colloquial 
dialogue, and to the forcible emphasis of the drama. It also 
serves, like the other intervals of the wave, to extend the 
quantity of syllables in deliberate and dignified discourse ; 
and to preserve, at the same time, the characteristic concrete 
of speech. 

The equal wave of the minor third, by the duplication of 
the single interval enhances its plaintive expression. It may 
be occasionally used as a mode of emphasis in the chromatic 
melody, but its more common employment is for enforcing 
the effect of crying. The expression of the inverted wave 
of this interval, does not differ much from that of its direct 
form. 

33 



258 THE EaUAL WAVE OF THE SECOND. 



SECTION XXVIIL 

Of the Equal Wave of the Second. 

We come now to consider the most frequent, and one of 
the most important forms of the wave. 

In speaking of the expressive power of melody in the tenth 
section, it was said that the predominance of the phrase of 
the monotone was instrumental in the expression of dignity 
and solemnity : and the first few lines of the second book of 
Paradise Lost, were noted in illustration of this principle. 
I must now add that a long quantity, on the accented and 
emphatic syllables, is an essential condition in the accom- 
plishment of that dignity of expression. But it is necessary, 
for the full perfection of this character, that a certain mode 
of intonation should be set upon these long quantities ; and 
the requisite mode is that of the Equal Wave of the Second, 
either in its single or double, its direct or inverted form. 

The diatonic melody was described as if the vanish of 
every syllable is upward, whatever the character of the plain 
discourse may be. It has since been shown that the down- 
ward vanish of a second is occasionally introduced with a 
view to vary the current. The difficulty of making a per- 
spicuous arrangement in a subject altogether new, and of 
giving a full description of parts which are elementary, and 
closely related, but which must be successively explained, 
has obliged me to proceed in the way of gradual and partial 
development, of frequent reconsideration, and of addition, 
which distinguishes the descriptive method of this essay. 
Consistently with this order, I have now to add that the 
upward movement of the voice, through any interval, except 
the semitone, has more gayety of expression than the down- 
ward. Hence discourse of an easy and sprightly character, 



THE EGLUAL WAVE OF THE SECOND. 359 

of quick time, and of short quantity, is generally carried on 
with the rising vanish of the employed interval ; as may be 
seen in the foregoing representations of the diatonic melody. 
But when discourse is of a grave cast, and necessarily calls 
for long quantities, then the wave of the second is to be used. 
For the subsequent descent of the interval, forming thus the 
direct wave, takes offthe light and familiar expression which 
belongs to the simple rise of the second : whilst the length of 
the quantity being applied to the lines of contrary flex- 
ure, the voice is still kept within the rule of the equable in- 
tonation of speech. 

What is here said of the use of the direct wave of the 
second, in adding dignity and solemnity to a diatonic melody, 
is also true of the inverted wave. For if the reader is able 
to make the rise and the continued fall through a tone, or 
reversely, the fall and the rise, on any chosen literal element 
or word, he will observe a difference in the effect. But each 
case will be equally destitute of that striking intonation, 
which belongs to the wider intervals, whether upward or 
downward, and which would be incompatible with the 
avowed character of the diatonic progress ; except for the 
occasional purpose of emphasis. But these two contrary 
forms of the wave of the second, without adding any high 
coloring to the melody, serve to give variety to the intona- 
tion of dignified and impressive discourse. 

I am not aware that the double form of the equal wave of 
the second has any peculiar expression or power beyond that 
of its single form, except what may arise from extending the 
quantity of syllables. Indeed an unusual protraction of 
quantity in the diatonic melody, instinctively produces the 
double form of the wave ; since the voice may take this 
serpentine line, through the second, without producing any 
unpleasant snarl, similar to that of the double wave on some 
of the wider intervals. 

We have previously learned that there may be a Continued 
form of the wave, or a progress of the line of contrary flex- 



260 THE EaUAL WAVE OF THE SECOND. 

ures beyond the term of three constituents. It is upon the 
time of an equal wave of the second in a diatonic melody, 
that this continued extension is most conspicuous and useful ; 
if indeed it is in any other case admissible. For should some 
extraordinary expression of solemnity upon an indefinite 
syllable, require an unusually protracted quantity ; and 
should the time of the syllable not be exhausted, when the 
voice has passed through the three constituents of the double 
wave, it must necessarily be carried on in the note of song, 
or it must continue in the flexures of the wave. When it 
takes the course of the flexures, the bad effect of the former 
case will be avoided : nor will this multiplied repetition of 
the rise and fall, through this small interval of a tone, pro- 
duce any positive or unpleasant impression. 

I have ascribed an importance to the subject of this section, 
because it is the foundation of one of the most useful princi- 
ples in the art of reading well. We have all along kept in 
view, a distinction between the plain melody, formed by the 
rise or fall of the voice through the interval of a tone, and 
a melody produced by the use of other intervals which give 
to utterance what was distinctively called Expression. 
Now, very few readers are able to execute this plain melody, 
in the beautiful simplicity of its diatonic construction. Some 
give constantly the rise of a third, a fifth, or a semitone : or 
mark every emphatic syllable with one of the forms of the 
wave. Perhaps these faults arise from an attempt to give a 
greater degree of dignified expression, or of variety to the 
simple melody, than the reader is able to accomplish by the 
management of the second alone. In this attempt he employs 
some of the above mentioned exceptionable intervals, and 
thus produces a disgusting monotony. For these expressive 
intervals so remarkably affect the ear, that, when unduly 
repeated, their identity becomes conspicuous and offensive. 
Whereas the simple and unobtrusive interval of the second, 
may be frequently repeated without producing a like dis- 
agreeable uniformity : the several forms of the simple rising 



THE EaUAL WAVE OF THE SEMITONE. 261 

and falling concrete, and the direct and inverted equal wave 
of this interval, affording sufficient variety to the diatonic 
melody, without destroying its characteristic plainness. 

No one, who has not made an analysis of this subject, 
or has not had its peculiar effect distinctly pointed out, can 
be aware of the unpretending force, diversified succession, 
and severe simplicity of the diatonic melody, when con- 
ducted on the principles of the radical change formerly laid 
down ; and varied by the appropriate disposition of the single 
rise and fall, the direct and inverted wave, and certain modes 
of stress to be described in a future section. Upon the plain 
level of this melody, the occasional expression of the wider 
intervals comes with all the power which variety of impulse, 
and measureable contrast must necessarily produce. Where- 
as he who is constantly dealing out his semitones, thirds, 
fifths, and wider waves, all jws no repose to the ear ; and 
when the real occasions for their application occur, the sen* 
sibility to their contemplated influence is exhausted. 



SECTION XXIX. 

Of the Equal Wave of the Semitone, 

The chromatic melody was formerly described as con- 
sisting of the repetition of the radical and vanish of ths 
semitone. But it was even then stated, that there may be a 
conjunction of the rising and of the falling interval, for the 
purpose of repeating the plaintive impression of this symbol, 
and for adding length to the quantity of syllables. In the 
varieties of its construction, the semitonic is like the other 



262 THE EGIUAL WAVE CF THE SEMITONE. 

species of the wave. Its direct, inverted, and double forms 
carry greater dignity and feeling than the simple rise ; and at 
the same time furnish means for diversifying the current 
melody. 

A mingling of the reverse forms of the wave, is peculiarly 
necessary in the chromatic melody ; for the continued repe- 
tition of an impressive interval, and the frequent occurrence 
of the phrase of the monotone in this melody, make it de- 
sirable to vary as much as possible the character of the wave, 
without destroying the essential nature of its plaintive con- 
stituent. Now this is effected, in a degree, by an appropriate 
disposition of the direct and inverted wave of the semitone. 
For these contrary movements have a difference of character 
which may be perceived on comparative trials ; and a deli- 
cate and critical ear will be struck with the effect of a well 
ordered variety of these waves, even though it might not be 
able to point out the causes, nor repeat the arrangement that 
produced it. 

It may be remarked, on the subject of this and the preced- 
ing section, that whenever a good reader extends at will, 
the quantity of his syllables, and surely no one can read 
well without the faculty of doing this, he does instinctively 
give the intonation of these waves, in all deliberate and 
solemn utterance: whilst on the other hand, his voice 
assumes the simple rise and fall of these intervals, without 
the continuous flexure, in delivering those gayer and more 
energetic sentiments which naturally suggest a shorter time 
of syllables, and a more rapid pronunciation. 

If such then are the spontaneous and satisfactory efforts 
of the voice, it may be asked, — why we should labor, so 
deeply in an analysis, which, when compounded again into 
practice, will be no more than the fulfilment of the instinct 
of speech. I have said these points of intonation are accom- 
plished by a good reader; one in whom nature has established 
that admirable conformity between the spirit which identifies 
itself with the thoughts and feelings of an author, and the 
organ which executes the audible picture of its sympathies : 



THE WAVE OF UNEQUAL INTERVALS. 263 

by one, who, when he feels the uneasiness of error, will give 
even painful industry for its correction ; and who, in his 
self-directed labors, is unconsciously following the order, and 
effecting much of the purpose of scientific analysis and rule. 
But how shall he find out, or preserve his way, who has 
not this native grace of improvement ; who searches for 
right, without knowing what is wrong ; and who copies 
both the faults and merits of an individual example, instead 
of reaching forth, under the direction of well devised pre- 
cepts, to gather excellence by discriminative selection. It 
is to such a person that a development of the accidents of 
speech becomes indispensable. To him the connexions of 
system, the precision of definition, and the fulness of history 
afford those aids, which the keen economy of observation, 
and the sure-winged thrift of genius may not require. 



SECTION XXX. 

Of the Wave of Unequal Intervals. 

By the term here employed, I mean to denote that mode 
of expression, which consists of lines of contrary flexure, 
but which is compounded of different intervals. Thus, if 
the voice rises through a second, and then in continuation 
falls through a third ; or if it falls through a given interval 
and rises through a different one, it is called the Unequal 
Wave. 

It will at once be perceived that there is a direct and an 
inverted, a single and a double form of this element : and 
that the possible combinations of its constituents are so 



264 THE WAVE OF UNEGLUAL INTERVALS. 

various, that the complex enumeration of them would be al- 
together useless, except the expression of each of their 
permutations could be pointed out. But the recognized 
varieties of its expression bear a very small proportion to 
its multiplied species. It embraces indeed wonder, positive- 
ness and interrogation, in different degrees, according to the 
extent of the interval and the direction of its last constituent. 
I am not however able to assign to the unequal wave, in its 
various forms, any general characteristic of expression, ex- 
cept that of strongly marked scorn, and other feelings of a 
like nature and force. These sentiments are in a slight de- 
gree conveyed by the curling of the Equal wave, and even 
by the simple rising and falling fifth and octave, when there 
is much stress or an aspiration laid upon their vanishing ex- 
tremes. But the most striking sign of contempt, and of 
similar sentiments, consists in a wide variation of the con- 
stituent intervals of the wave ; especially if the wave is 
double, with the intonation strongly aspirated, or with a 
guttural vibration on its final concrete. 

This wave of unequal intervals is found in the representa- 
tion of the higher passions of the drama, and in the peevish- 
ness and colloquial cant of common life : but it should be 
rarely used in that moderate temper which belongs to the 
greater part of written discourse. It has a vulgar earnest- 
ness and a quaint familiarity which render it adverse to a 
grave or graceful design of speech. 

When the expression of scorn is required in a current 
melody of dignified or solemn utterance, it is, under the di- 
rection of feeling and taste, generally made by the proper 
use of stress and aspiration on the simple rise or fall of the 
third or fifth, which conveys a more moderate degree of this 
sentiment ; at furthest, in such a case, the expression is not 
carried beyond the aspirated structure of the single-equal 
wave. 

There is a peculiar use of the unequal wave, described 
under the head of Chromatic melody, which forms an ex- 
ception to the above attribution of the sentiment of scorn to 



THE WAVE OF UNEGtUAL INTERVALS. 265 

this symbol. I allude to its employment, for the purpose of 
chromatic interrogation. In this case it is necessary to give, 
on the same syllable, an intonation both of plaintiveness 
and of the question ; and this can be accomplished, only by 
subjoining to the last constituent of the equal direct wave of 
the semitone, or to the first constituent of its inverted form, 
the rise of the third, or fifth, or octave. But it is proper to 
remark here, that this, and other modes of the unequal wave, 
cease to be expressive of scorn, only by withholding the as- 
piration from them, and by avoiding the guttural vibration 
on their last constituent. 

There is likewise a form of the unequal wave, by which 
the cadence of a chromatic melody is made on one syllable : 
for in this case the voice rises through the interval of a semi- 
tone, and then in continuation descends concretely a third 
to the close. And it may be recollected that I said, this 
mode of intonation is not to be used, on account of its pe- 
culiar expression being unsuitable to the general character 
of repose which belongs to the cadence. From the nature 
of its constituents, this form of the wave bears the sentiment 
of plaintive or querulous surprise, and consequently is ad- 
missible on the last long quantity of a chromatic sentence, 
only when this sentiment is set forth in its final word. 
When however it is increased in force and is aspirated 
towards its close, it bears more conspicuously the expression 
of querulous scorn. 

The wave, under every mode, especially requires the use of 
syllables of indefinite time. We may therefore comprehend 
why long quantities are necessary for reaching full dignity 
of utterance, since these alone are capable of bearing the 
wave ; dignity of expression being an effect of the wave 
of wider intervals, on emphatic words, and of the wave of 
the second or the semitone, in the continued current of the 
diatonic or chromatic melody. With the light of this prin- 
ciple, the reader may see on what defensible ground I for- 
merly maintained that the majestic movement of the first 
34 



266 THE WAVE OP UNEQUAL INTERVALS. 

line of the second book of Paradise Lost, was shocked by the 
occurrence of the word state. 

High on a throne of Royal state which far — 

All the accented syllables of this line, except state, are of 
indefinite quantity, and will bear the equal wave of the 
second. The same is true of nearly all the syllables in 
the three succeeding lines of the passage : and with the 
exceptions here alluded to, the whole is admirably fitted, 
in its time, for the vocal representation of this magnificent 
description by the Never-equalled Poet. 

From an inattention to this point of quantity, it often hap- 
pens that poets use syllables of immutable time, in those 
emphatic places which call for the expression of the wave. 
The case in the following example, which was cited in the 
ninth section, will now be better understood. 

And practised distances to cringe, not fight. 

The sentiment of scornful exultation conveyed by the 
words not fight, here requires a form of the unequal wave 
on each of these syllables ; but from the limitation of their 
quantity, it is impossible to employ these movements without 
the most disgusting departure from correct pronunciation. 

In speaking of the various ascending and descending con- 
crete intervals, it was shown that a similar, though dimin- 
ished effect of intonation is produced by the leap or change 
of the voice, from the radical of any concrete to the top of its 
vanish, without passing through the intermediate space. Now 
since the wave is only a junction of the concretes of its con- 
stituents, it might naturally be supposed that some expres- 
sion analogous to the effect of a concrete wave, may be pro- 
duced by radical changes to the extremes of its flexures. A 
correspondence of this kind may be displayed on some of the 
forms of the wave. Thus in the case of the words not fight 
given above, some approximation may be made towards the 
required expression of the continued concrete, by giving the 



RECAPITULATING VIEW OF MELODY. 267 

particle not at a discrete fifth above the line of the current 
melody; then returning discretely to that line on fight ; and 
subsequently rising from it with the rapid concrete of a 
third : thus producing a kind of discrete imitation of the 
direct-double-unequal wave of the fifth and third. For if 
we suppose the radical of cringe to be on a line with the 
current melody, and a concrete to be carried from its place, 
through the points of the rising and falling discrete fifth 
above mentioned, it will, with the rapid vanish of the third, 
form such a wave. This mode of discrete intonation by the 
wider intervals, comes much nearer to the expression of 
contempt, designed by the exultation of Satan, than can pos- 
sibly be reached on the triad of the cadence, to which the 
voice is prone, in this case, from the short time of the sylla- 
bles, and their position at the close of a sentence. 

Another example which was given in the ninth section, 
may still further illustrate this design to convey by means of 
radical changes, the full expression of a wave of equal inter- 
vals, when a limited syllabic time, renders its continuous or 
concrete movement impracticable. 

Faithful to -whom 1 To thy rebellious crew ? 
Array of Fiends, Jit body to Jit head. 

The words here marked in italics convey the sentiments 
of admiration and scornful compliment, and would be into- 
nated by a good reader, with an alternate skip of the radical 
pitch through the rise and fall of a fifth : for in this way 
only, that is by marking the extremes of intervals, which, 
upon extendible syllabic quantity would be given as a wave, 
can that open eye of wonder, and snarling of scorn, be sub- 
stitutively executed. But even with all the assistance from 
the radical skip, the reader, if he possesses the soul of elo- 
cution, must still find it imprisoned within these words. 

I wish here to recall the attention of the reader to the sub- 
ject of syllabication, which was treated of in the fourth 
section. It was there shown that the various accidents of 
syllables are governed by the function of the radical and 



268 RECAPITULATING VIEW OF MELODY. 

vanishing movement. It was likewise stated, that the flow 
of syllabic sound is not always limited by the extent of the 
upward and the downward concrete ; but that the impulse 
is practicable upon another form of pitch. We are now pre- 
pared to hear that the unbroken current of the voice, may 
be carried through the contrary movements of the wave, 
without destroying that singleness of impression which con- 
stitutes one of the characteristics of a syllable. 

Enough was said on the subject of elemental utterance, 
to make this matter explicable by a few words. The wave 
is a continuous sound, and consequently affords no oppor- 
tunity for the outset of a new radical, which, with its follow- 
ing vanish would produce another syllable. For it was 
shown that an interruption of the concrete, whether made 
wilfully by pause, or necessarily by the occurrence of an 
abrupt or an atonic element, is unavoidably the end of one 
syllable, and the preface to the beginning of another. 

After the description which has thus far been given of the 
individual functions of the speaking voice, we may take a 
more comprehensive view of the subject, by recapitulating 
the account of these functions as they appear in the connected 
current of discourse : and thereby show them in the joined 
relations of synthesis, as well as in the separate individuality 
of decomposition. 

We speak to communicate our ideas, and, if the difference 
of the cases is allowed, to express our feeling or sentiments. 
Language should therefore have a set of symbols for each 
of these modes. But as it is difficult, if not impossible, to 
draw a definite line of distinction between mere thoughts and 
what are called sentiments ; so the oral symbols which re- 
spectively represent them cannot be absolutely disjoined in 
arrangement. I have, however, endeavored to make a prac- 
tical division founded on some of their obviously dissimilar 
phenomena. 

That which I call the plain diatonic melody, consists of a 
simple rise through the concrete of a tone, varied by the occa- 
sional use of the downward tone ; with a radical pitch play- 



RECAPITULATING VIEW OF MELODY. 269 

ing in its several phrases ; and a termination of the melody by 
the descent of the cadence. The smoothness and the beauty 
of speech, in this case, is largely dependent on that con- 
struction of the radical and vanish, which displays a full and 
well marked opening of the concrete, and a gradual diminu- 
tion of its force. These are the constituents employed and 
this their disposition, for reading plain narrative or descrip- 
tion : and I maintain that if the definitions of astronomy, title 
deeds of property, and gazette advertisements, are not read 
in this style of. intonation, the effect will be unsuitable to 
their passionless thoughts. 

In the above cases, as well as in the wider range of sub- 
ject to which the diatonic melody is applied, the movement 
is supposed to be with a tripping step and a short quantity. 
If however the thoughts have an importance which calls 
for more impressiveness, an increase of quantity in the ac- 
cented syllables, together with a general slowness of the 
time will be assumed : the concrete still continuing in a 
rising though protracted form. 

Should this deliberate movement be further urged by the 
influence of sentiments of solemn dignity, the melody will 
assume the form of the mingled progression of the direct and 
inverted equal wave of the second. There is much of the 
church service which should be read with this plain pro- 
tracted intonation. It conveys in full, the sentiments of 
august composure, and solemnity, and veneration. The 
proper management of these contrary directions of the wave 
gives sufficient variety to the melody : whilst it avoids those 
forceful impressions of wider intervals, which would break 
the stately ease and designed simplicity of the movement. 
This last style of melody, includes the means for producing 
that graceful dignity of voice, which is in vain attempted 
through the breadth of ' o's and * aw's in mouthing ; through 
strong percussive accents with long pauses ; the waves of 
wide intervals ; and that heartless affectation which passes 
without motive or rule, in unexpected transition from the 



270 RECAPITULATING VIEW OF MELODY. 

strongest cushion-beating emphasis, or stage vociferation, to 
the attempted significancy of a mysterious whisper. 

Though the above forms of melody are here represented 
as being used independently of any other mode of intonation, 
yet it must be understood that the rise, and fall, and wave 
of the second which give them the diatonic character, are 
almost universally found mingled with the wider intervals of 
expression. For these melodies may happen to contain a 
question ; which must be made, according to its grammati- 
cal construction, or to the sentiment which dictates it, either 
with a thorough or partial use of the intervals of the third, 
or fifth, or octave. And though they may embrace no interro- 
gation, yet some words conveying a sentiment of surprise, 
or positiveness, or scorn, or serious or mirthful admiration, 
may call for distinction above the rest. Now the emphatic 
syllables of such words are so distinguished by the wider 
rising and falling intervals of the scale, and by the various 
forms of the wave : this effect being produced either by the 
concrete or the discrete mode of intonation. 

There is another interval of the scale, — the Semitone, 
which is used for the emphatic distinction of single words, 
and which conveys a sentiment of complaint, or pity, or 
tenderness, or submissive supplication. But the more gene- 
ral use of this semitone is upon phrases, and sentences, and 
throughout discourse. This is called the chromatic melody. 
It too has its structure of a simply ascending concrete, which 
gives the least degree of the sentiments of this melody, on 
its least prolonged quantities. It has also the higher wrought 
and more dignified degree of expression, belonging to the 
equal wave of the semitone, in the variations of its direct and 
inverted, its single and its double forms. Some parts of the 
church service which contain the words of complaint, pen- 
itence, and supplication, call for this solemn wave of the 
chromatic melody. 

There are other functions which serve to make up the phe- 
nomena of correct, elegant, and expressive speech. These 
were considered under the terms, quality of voice ; — melody, 



EXCLAMATORY SENTENCES. 271 

or the run of radical pitch on its different phrases ; pauses, 
and the proper phrases of intonation to be used at them ; — 
and the grouping of the voice, or the means of impressing 
on an auditor, more definitely, the syntatic relation of words 
and phrases, by means of pause, emphasis, and the variations 
of time and force. 

This summary includes the constituents which have thus 
far been enumerated. There are some important functions, 
yet to be described, which will furnish us with the symbols 
of other sentiments. 



SECTION XXXI. 

Of the Intonation of Exclamatory Sentences. 

In describing the nature of the downward concrete and 
of the wave, it was said that these movements are variously 
expressive of surprise and admiration. Now as these, and 
like sentiments, are embraced by that form of speech which 
grammarians have called Exclamation, I shall endeavor to 
give an outline of some of the principles that seem to govern 
the intonation of Exclamatory sentences. 

I have already said, that — besides a mere admission of the 
existence and importance of such a thing as intonation in 
the art of speaking, our institute of Philology has never given 
any other analysis or notation of its specific modes, than that 
which seems to be signified by the common \ notes' of In- 
terrogation and Exclamation. But as these notes merely 
imply some undescribed peculiarity of voice, without being 
grounded on any analysis or rule of intonation, they can be 



272 THE INTONATION OF 

considered as no more than grammatical symbols to the eye. 
This indefinite state of knowledge with regard to the in- 
tonation of these forms of speech, has been further confused 
by the vague uses of their grammatical signs. For we find 
the note of interrogation often applied to sentences, which 
are really interjective or argumentative appeals : and which 
by the light of analysis we now possess, may be shown to be 
strictly exclamatory. 

Had the reader been prepared by previous description of 
the downward concrete and the wave, it would have been 
shown, in the section on interrogative intonation, that some 
questions are made by these movements of pitch. But even 
this does not form an exception to the principle that purely 
inquiring interrogation, if I may so call it, is made by the 
rising intervals alone : for we are here to learn, after what 
has been said of the reverse expression of the falling inter- 
vals, that whenever a question employs the direct wave, or 
the downward movement, the interrogative character is lost 
in the sentiments which require these adopted intervals. 

Interrogations are Purely Questionary ; Appeal- 
ing ; Argumentative ; Exclamatory ; and Impe- 
rative. 

The Questionary requires the rising intervals, in the tho- 
rough, or in various degrees of the partial application, as set 
forth under the proper head of Interrogative intonation. 
Some of the others denote on the part of the interrogator, 
that positive belief upon the subject of his own question, 
which calls for the use of the downward concrete or the 
direct wave. I have therefore included these forms of in- 
terrogation under the present head of Exclamatory Sen- 
tences; which we shall see require the above named forms 
of pitch. It will be difficult however to draw a precise line 
of separation between those forms of speech which require 
the pure interrogation of the rising intervals, and the in- 
terrogative application of the downward positive movement. 
And though we may not be able to make the points of their 
near resemblance, a matter of exact discrimination, this is 



EXCLAMATORY SENTENCES. 273 

no reason that we should not describe and arrange their 
manifest distinctions. 

The Appealing Question. The spirit of this interrogatory- 
is, in most cases, that of positive conviction. For no one 
ever appeals but with the expectation, that judgment will 
be given in his favor. The appeal is put in the questionary 
form, either with a persuasive deference, or else with cunning 
sophistry, to set the required decision within the view of the 
person appealed to. Now the real or the feigned conviction 
on the mind of the interrogator produces, in questions of this 
sort, the same downward intonation that positive declara- 
tions require. I say the reference of these questions is 
made, rather for confirmatory approbation than for the un- 
biassed voice of judgment ; and this is more clearly exhibited 
in the forms of poetical appeal to the decision and will of 
heaven. For surely this implies the highest assurance of 
conviction on the part of the interrogator. Thus in the 
fourth act, and second scene of Julius Ccesar Brutus says, — 

Judge me ye Gods! Wrong 1 mine enemies! 
And if not so, how should I wrong my brother ! 

Here are two appealing questions put, not in the doubt of 
inquiry and with anxiety as to a reply, but with the full ex- 
pectation of a favorable judgment. The words in italics 
therefore properly require throughout, the downward into- 
nation. In truth, the spirit of the expression is exclamatory. 
The Argumentative or Conclusive question. The object 
of this question is not that of inquiry : for it is generally ad- 
dressed upon data, that make the phrase, though gramma- 
tically an interrogation, rather a logical conclusion from pre- 
mises that have been asserted or admitted. Thus Antony, 
over the body of Caesar says, — 



He hath brought many captives home to Rome, 
Whose ransoms did the general coffers fill: 
Did this in Ccesar seem ambitious! 
35 



274 THE INTONATION OF 

Or as more strongly marked in this : — 

You all did see that on the Lupercal, 

I thrice presented him a kingly crown, 

Which he did thrice refuse. Was this ambition! 

These arguments, for so I call them, though addressed with 
the words of a question, certainly cannot be received in the 
spirit of one. That spirit is really inferential that Caesar 
was not ambitious. In short, these cases belong to what may 
be termed an interrogative syllogism, of that species which 
logicians call an Enthymeme, or an argument of two propo- 
sitions only, the minor and the conclusion : thus, — 



Caesar thrice refused a kingly crown; 
Therefore Caesar was not ambitious. 



The syllogism being completed by the addition of its major 
term : thus, — 

An Ambitious man would not refuse a kingly crown; 
But Caesar thrice refused a kingly crown, — 
Therefore Caasar was not an ambitious man. 

Such being the positive character of these phrases, it fol- 
lows from the rules we have laid down, that they should 
receive the intonation of the falling intervals ; the very 
opposite to those which denote interrogation. 

According to the present method of reading by the mere 
brutal instinct of the voice, these Questions might be given 
with a thorough application of the rising intervals. But in 
this case the intonation would be apt to assume the sneering 
expression of the double-direct or single-inverted wave, in 
order, by its ironical effect, to endue the inquiry with the 
force of a real negation. 

And here we may take the opportunity to point out one 
of those many relations which our present analysis will here- 
after develop, between the arts of grammar and rhetoric, and 



EXCLAMATORY SENTENCES. 275 

that of elocution. It has been shown, that the words in italics, 
of the above examples, are in meaning, positive declarations 
of belief in a fact. But by a figure of speech, this meaning 
is conveyed in the form of a question : and questions are 
generally taken as words of doubt. Consequently in cases 
like the above, where the voice has some positive meaning to 
express, it should be able to annul the usual power of the 
grammatical question. The means for effecting this, is by 
the use of the most emphatic degree of the downward inter- 
vals ; for the expression of these is furthest removed from 
that of the rising interrogative voice. And this instance may 
serve to pre-signify the kind of vocal and grammatical con- 
trariety, which the future cultivators of elocution will be 
called upon to analyze, and to reconcile by the extended 
powers and resources of their art. 

The Exclamatory Question. It was stated above that the 
appealing question is exclamatory ; and it may be said here 
that the exclamatory question embraces an appeal. The 
only ground for distinguishing them, is that the exclamatory 
phrase appears to be more removed from the nature of a 
question, than the appeal, by its seeming the less to require 
an answer. 

In Shakspeare's Richard II, the King, in that celebrated 
descant on the state of princes, says : — 

I live with bread like you, feel want, taste grief, 

Need friends, — subjected thus, 

How can you say to me, / am a King! 

The words in italics do not require an answer, for they 
contain the sentiments of reproof, displeasure, surprise and 
conclusive denial ; but not inquiry : and therefore are pro- 
perly expressed by the use of the downward concrete and 
the direct wave. 

The Imperative Question. There is such a thing as over- 
bearing, impetus in feelings, as well as in physical momen- 
tum ; by which the expression that belongs to one thought 
is carried into another, which under different circumstances 



276 THE INTONATION OF 

would not admit of that expression. Now the case of into- 
nation in an imperative question seems to be one of this 
character : for there are here two sentiments in the mind 
of the speaker, — Command and Inquiry; and these are in 
immediate connexion with each other. But the zeal of the 
question is exhibited in the vehement desire for an answer ; 
and this desire displays itself in the earnest authority of com- 
mand. By this transfer the command assumes the whole 
of the energy of the case ; and seeming to forget, if I may 
so illustrate the subject, the expressian that is due to the sen- 
timent of the question, it throws the positiveness of the im- 
perative sense over the whole. This is exemplified by Mac- 
beth's consultation with the witches. — 



Witches. Seek to know no more. 

Macbeth. I will be satisfied. Deny me this, 

And an eternal curse fall on you. Let me know, 
Why sinks that caldron ! and what noise is this ! 



The eagerness of Macbeth is here changed to anger, at 
the prospect of disappointment. This anger assumes the 
intonation of command in the phrase let me know, and the 
strong downward intonation which this command requires, 
is, by the impetus of feeling, continued throughout the two 
succeeding questions. A good reader will, on trial, at once 
admit the propriety of this positive intonation ; for let him, 
after the angry demand, immediately give to the questions 
the rising intervals of interrogation, and not only will the 
defect of appropriate gravity and force be apparent, but the 
violent contrast of expression, will be even ludicrous. Yet 
without the overruling of this imperative sentiment, the 
questions would naturally take the interrogative intonation ; 
for they contain a real inquiry. 

In the above instance, the question has the previous com- 
mand expressed ; but in all cases where it is wanting we 
are to understand the phrase, — tell me, or some equivalent 
imperative. 



EXCLAMATORY SENTENCES. x 277 

There are other sentiments requiring the downward inter- 
vals, that may be embraced in the grammatical form of in- 
terrogation. But I have given examples enough of this 
kind of combination, to furnish the means for a complete 
distinction and classification of all its modes. 

Perhaps one of the reasons why questions of the above 
character drop their proper interrogative intonation, is that 
the grammatical phrase sufficiently indicates the inquiry, 
and thus allows the associated sentiment to thoroughly as- 
sume the downward interval. 

Upon the subject of the common Note of interrogation, 
it is to be remarked, that as most questions are signified by 
their grammatical construction, and as this symbol in most 
of its places sets no rule for intonation, it may be regarded 
as useless in all the form of interrogation, except the decla- 
ratory, and some phrases that without it might be mistaken 
for imperatives. In these, the mark placed at the end, or 
better, at the beginning of the question, would be definite 
in its indication, from such sentences always requiring the 
rising intonation. That the common mode of applying this 
symbol must confuse a reader who pays regard to it, is a fair 
conclusion from its being used indifferently in cases which 
require, as we have now learned, totally opposite modes of 
intonation. 

Having considered the various kinds of interrogation, let 
us survey them in recapitulation. — 

Questions in their grammatical construction are either 
declarative or interrogatory : and with regard to their mean- 
ing, they are made as a real inquiry, or as an indirect 
expression of belief, through the figurative doubt of inter- 
rogation. 

Declarative questions, are elliptical sentences, whose inter- 
rogatory clauses being omitted, the question must be signi- 
fied by the application of the wider rising intervals to every 
syllable. Of this, examples were given in the sixteenth 
section. But there are declarative questions which partake 
so much of absolute assertion, that they may be uttered 



278 THE INTONATION OF 

with only a partial use of interrogative intonation : as in 
the following of Hamlet to Polonius : — 

My lord, you play'd once in the University, you say"? 

There is a doubt in this sentence, and as such it is marked 
by editors : yet the phrase you say puts the question, if such, 
as of a thing that was known before. In a similar form of 
address, Hamlet says to the player : — 

You could, for a need, study a speech of some dozen or sixteen 
lines, which I would set down and insert in't 1 

Declarative questions vary in extent, from the usual length 
of sentences to that of a monosyllable, as was shown in the 
fifteenth section on the interrogative intonation of the word 
yes. A similar use may be made of no, and of the single 
state of most of the other parts of speech. 

The purely Interrogatory constructions were described in 
the sixteenth section. Their grammatical forms are various, 
and their spirit, of several degrees and kinds. 

Questions of Real inquiry, are all those embraced by 
the declarative and interrogatory divisions. They bear a 
thorough or a partial intonation, according to the structure, 
or the spirit of the phrase. 

Those Figurative questions that denote belief, and not 
doubt, on the part of the interrogator, are included under 
the present head of exclamatory sentences ; and as we have 
seen, call for the downward intervals or the wave, such as I 
now proceed to show proper Exclamations require. 

Many exclamations may be regarded as elliptical sentences. 
The design of these broken phrases is to effect a quick and 
forcible expression of thought or feeling : and as this is done 
with a brevity of style, which sometimes might not be a full 
indication of the sentiment, it is necessary to employ the 
additional means of intonation. And hence arise the struc- 
ture and characteristic expression of Exclamation. 

The shortest exclamatory, like the shortest declaratory-in- 
terrogative sentence consists of a monosyllabic word, and 



EXCLAMATORY SENTENCES. 279 

this may be any of the parts of speech, if perhaps we except 
the article, conjunction, and preposition; the interjection 
being the most common. And this may serve to set the 
power of intonation in the strongest light ; for thus it seems 
to be the art of speaking almost without words. From the 
monosyllable, exclamations vary in extent through degrees 
of the ellipse, to the full syntax of a sentence. Though there 
are few that are not curtailed by the force of passion. Ex- 
clamations might then be arranged according to their struc- 
tures, — as grammatically imperfect, or as complete. I shall 
class them by the sentiments that prompt them. 

When it is said that exclamatory sentences generally, if 
not always, bear the falling intervals or the wave, it must be 
understood that the extent of the interval is in proportion to 
the force of the sentiment. Thus the following interjective 
reflection, from its moderate temper, might require no more 
than the downward second or its direct wave. 

O withered truth? 

Whilst the energetic emphasis of Hamlet's revengeful excla- 
mation at the atrocity of the King, — 

O villain, villain, smiling damned villain ! 

should receive the deep and forcible descent of the octave. 

Of the many kinds of exclamatory sentences, I shall only 
notice, The Admiring, The Plaintive, The Scorn- 
ful, and the Imperative ; since these illustrate the seve- 
ral modes of intonation which this style of composition re- 
quires. 

The Admiring Exclamation. Admiration is a sentiment 
felt upon new perceptions or thoughts. Now the newness of 
objects, or of our thoughts of them, involves in a degree the 
sentiment of inquiry as to their quality or nature ; and thus 
seems to call for the use of the rising intervals. But this 
sentiment has not quite the force which would require a ver- 
bal or a vocal question : whilst, at the same time, there is in 
the character of Exclamation, a positive conviction of the 



280 THE INTONATION OP 

high importance of the object of Admiration. It is from 
embracing these two sentiments that the admiring exclama- 
tion calls for the direct wave or union of the rising and the 
falling intervals ; the positive character of the exclamation 
by the downward course of the last constituent, predominat- 
ing over whatever there may be of inquiry that gives occa- 
sion for a previous rise. Let us take as an example, the fol- 
lowing description of the assembling of the fallen Angels at 
Pandemonium. 

So thick the airy crowd 
Swarm'd and were straightened ; till the signal given, 
Behold a wonder ! 

Here, of the words in italics, the syllables hold and wond 
require the direct wave of the fifth, and by their indefinite 
quantity freely admit of it. 

The Plaintive Exclamation. It was shown in the eigh- 
teenth section, in what manner a plaintive interrogation may 
be made, by the junction of the semitonic expression with 
the wider upward intervals. The plaintive exclamation is 
produced by the rise of the semitone continued into the de- 
scending third, or fifth, or octave, according to the force of 
the sentiment ; thus constituting a direct wave of unequal 
intervals. The direct wave of the semitone and fifth is the 
proper intonation, for the accented syllables of the following 
plaintive exclamation of Macduff: 

O Banquo, Banquo, 
Our royal master's murdered ! 

The Scornful Exclamation. It was said in the thirtieth 
section that Scorn, according to its degree, is expressed by 
the simple rise or fall of the wider intervals, or by the vari- 
ous forms of the wave, when made with an aspirated or a 
guttural voice ; the lighter degrees of expression, or the sim- 
ple rise and fall being appropriate to the sneer; and the 
stronger, to the deepest contempt and execration. Now 
when such sentiments are contained within short emphatic 



EXCLAMATORY SENTENCES. 281 

sentences, it constitutes what is here called the Scornful 
Exclamation ; as in the following, from the Merchant of 
Venice, 

Bassanio. This is seignor Antonio. 

Shylock. How like a fawning publican he looks ! 

The sentiment of this last line will be properly expressed, 
if the syllables in italics receive the unequal wave of the 
rising fifth and falling octave, under a slight degree of gut- 
tural aspiration, and the rest of the sentence, the falling 

fifth, with the like aspiration. 

The Imperative Exclamation. An imperative sense uni- 
versally requires a downward interval or a direct wave. 
Other functions, such as the modes of stress, aspiration, and 
guttural grating, to be spoken of hereafter, serve to mark 
the degrees of force or authority in the command. The fol- 
lowing exclamation of Macbeth to the Ghost of Banquo, re- 
quires the downward fifth or octave throughout ; according 
to the degree of energy the speaker may think appropriate 
to its delivery. 

Hence horrible shadow, 
Unreal mockery hence ! 

But we need not pursue this subject further. Exclama- 
tions are but forcible expressions ; and there may be as 
many kinds as there are modes of feeling and thought. Thus 
every mental energy and passion may be found in discourse, 
under the exclamatory form. I have by these few in- 
stances, shown the grounds of classification: and when here- 
after elocution shall, upon the foundation of our present ana- 
lysis, be raised into a science, and so cease to be, as it is 
now, a mere animal function, all those things, the possibility 
of which we can but imagine, shall be, in the fulness of 
knowledge, accomplished by others. 

Upon the subject of Interrogation and Exclamation, it is 
to be remarked that in some cases, emphatic distinction may 
require the use of a downward interval or a direct wave, 
36 



282 THE TREMOR OF THE VOICE. 

among the rising intervals of interrogation ; and a rising in- 
terval, among the downward concretes and direct waves of 
exclamation. The contrasts of intonation in such instances, 
constituting one of the characteristics of what is called em- 
phasis, or an impressive designation of single words. 



SECTION XXXII. 

Of the Tremor of the Voice. 

If the reader has borne in mind the definitions contained 
in the first section of this essay, he must be aware that the 
functions of pitch thus far analyzed are, severally, phenome- 
na of the concrete, the discrete, and the chromatic scales. 
I design to speak now of the means of expression derived 
from the Tremulous scale. 

This scale consists of a rise and fall through the octave, 
by the successive steps of that particular play in the throat 
which in common language is called gurgling. I have not 
invented the term Tremor as significative of a mode of the 
voice : but I here first give an analysis of the function, and 
decree its systematic arrangement, as conducive to the es- 
tablishment of principles, for the attainment of correctness 
and elegance of speech. 

In our first section there is a general account of the 
Tremulous scale. We must now be more particular. 

It has been shown in this essay, that every effort of the 
voice is necessarily made through the radical and vanishing 
movement : and that the audible characteristic of the several 
intervals of the scale may be distinctly recognized, even on 
the shortest immutable syllables. 



THE TREMOR OF THE VOICE. 283 

Since then each of the tonic and subtonic elements does, 
even in its shortest time, always pass through the concrete, 
it follows that, however quickly successive any one of them 
may be repeated, each impulse of the iteration must be a 
concrete interval. When therefore the tremor is made on 
any of the above named elements or their syllabic combina- 
tions, the successive constituent impulses of that tremor 
must each consist of an abrupt radical, and of a rapid con- 
crete of some one interval of the scale. Taking the name 
of the interval as a designation, there may be a tremor of 
the semitone, of the second, of the the third, of the fifth, and 
of the octave. That is, each of the successive impulses may 
rapidly rise or fall through those intervals respectively. In 
this case the impulses are supposed to be continued on the 
same line of radical pitch, the vanishes rising therefrom to 
their required heights; but it is easy to understand that 
whilst the iteration of the tremulous impulses is going on, 
through any concrete interval, for instance the second, the 
radical pitch of these concrete seconds may be carried up- 
ward or downward through the whole compass of the voice. 
This change of radical pitch in the tremulous movement is 
made in two ways. 

First: A given number of these iterations of the tremor, 
or Tittles, as we will call its several impulses, are continued on 
one line of radical pitch. A change is then made through the 
upward interval of a tone. On this line the tittles are again 
continued ; and thus by an alternate succession of iterations 
on a line, and changes by proximate degrees, the voice may- 
ascend through the whole extent of the scale. In this way 
it is manifest that the rise is merely through the diatonic 
scale of song, with the addition of the tremor on each of the 
stated places of the scale. 

Secondly : The ascent through the scale may be made by 
each tittle of the tremor being taken successively above the 
last, at a less distance than the tone or even the semitone. 
In this way, by a gradual rise of the radical pitch, the whole 
compass of the voice may be traversed. 



284 THE TREMOR OF THE VOICE. 

We have no means for ascertaining the extent of space 
between the tittles, in this rise of the tremor. It may be 
inferred that it is considerably less than a semitone : For if 
we make a tremulous movement through any cognizable 
interval, for instance an ascending third, — and this may be 
accurately done by first familiarizing the ear with the effect 
of the simple interval in its skip from first to third, and then 
comparing it with that of a rise by the tremor, — it will be 
perceived, that in this gradual ascent, the number of tremu- 
lous steps greatly exceeds five ; for that is the number of 
concretes perceived in executing a third, through the degrees 
of the semitonic scale. 

When the tremulous movement is made through the de- 
scending scale, whether by the diatonic progress and itera- 
tion on aline, or by the gradual change of minuter intervals, 
the concrete of the tittles takes likewise the downward 
movement ; for the expression designed by the downward 
course of the radical pitch of the tittles, seems to require a 
like direction of the concrete. Nor have I been able to per- 
ceive, in the ordinary uses of the voice, that the radical pitch 
of the tremor, and its concrete, move in contrary directions 
to each other. 

In order to illustrate the nature of the tremulous move- 
ment, I give below a diagram of its various modes just de- 
scribed. In the first and second bars the tittles are repre- 
sented on one line of radical pitch ; the concrete ascent of 
each tittle in the first being a tone, and in the second a fifth. 
The third bar shows the method by which the tremor as- 
cends, upon the steps of the diatonic scale. The fourth and 
fifth bars show respectively the method of rising by a gra- 
dual progress through intervals less than a semitone; one 
set of tittles having the concrete pitch of a third, and the 
other that of a fifth. 

This exemplifies only the upward course of the radical 
pitch and of the concrete : but the concrete may descend 
when the tremor is on one continued line ; and I have said 
above, that whilst the radicals of the tittles descend, either 



THE TREMOR OF THE VOICE. 



285 



by the steps of the diatonic scale, or by the gradual change 
of minute intervals, the concretes of the tittles do likewise 
descend. Now this condition of the tremulous movement, 
is illustrated by taking the diagram from right to left, in an 
inverted position. 



IUU 



JJiiP 



The tremor then consists of a number of impulses of sound, 
of the least assignable duration, which nevertheless do pass 
concretely through some one interval of the scale, and which 
rapidly succeed each other. These impulses being either 
iterations on the same line of pitch, or iterations whose radi- 
cal pitch rises or falls through the scale, by very small dis- 
crete intervals. 

That the tremor is so constructed, may be learned from 
experiment ; for it will show that the tremulous voice may 
be continued on a line, without rising or falling ; and that it 
may be carried to the lowest audible pitch, or to the highest 
reach of the falsette. And further, that the constituent 
tittles of the tremor, however momentary, do pass rapidly 
through concrete intervals may be proved by trial : for the 
plaintive effect of intonation, which is producible only on a 
semitone or minor third, may be heard on every part of the 
ascending series of the tremor, through the whole compass 
of the voice ; and in like manner the plain effect of the tone, 
and the interrogative expression of the third, or fifth, or oc- 
tave, may be given to this rising series. Now as the iterated 
radical skip of the ascent is not a semitone, or tone, or other 
wider interval, but a very minute space as was shown above, 
it is plain, that the expressive effects here spoken of are not 
produced by the minute skip, but by a momentary transit 
of the concrete tittles through those intervals respectively. 



286 THE TREMOR OF THE VOICE. 

It was upon the ground of this mode of progression, so dif- 
ferent from the concrete movement and from the diatonic 
steps by tone and semitone, that I ventured, in the first sec- 
tion, to call this discrete and chattering variation of pitch — 
the Tremulous scale. 

As we have seen that this tremulous function may be exe- 
cuted both in a rising and in a falling movement, it is scarce- 
ly necessary to add, that it may be carried through the com- 
pounded form of the wave. 

Let us then, after the analogy of our preceding nomencla- 
ture, call the minute spaces of the radical rise or fall of the 
series of iterations, — the Radical pitch of the tremor : and 
the rapid concrete issue of each of the successive radical 
iterations or tittles, — its Concrete pitch. 

The uses and power of the tremor, in the work of expres- 
sion, can be better explained after a prefatory consideration 
of the functions of Laughter and Crying. 

The pure and unpronounced act of Laughter consists in 
the use of the tremulous scale, both in its concrete and radi- 
cal pitch. Its concrete pitch may be any of the intervals of 
the scale, except the semitone or minor third ; whilst its 
radical pitch may either be continued on the same line, or it 
may rise or fall through the whole compass of the voice. In 
speaking of the application of a concrete interval to immuta- 
ble syllables, it was shown that the space of the rapid tran- 
sit, though immeasurable directly as an interval of the scale, 
may yet be ascertained by its characteristic expression : and 
the reader may practically apply the principle here, in dis- 
criminating the intervals which are used in laughter. 

When the concrete pilch is that of a tone, and the tremor 
is continued in the same line of radical pitch, the function 
may indeed bear the name of laughter, but it will be a mere 
phlegmatic chuckling in the throat. Whilst the concrete is 
still in the tone, if the iterations of the radical pitch rise and 
fall alternately through the scale, the expression of the laugh 
will become more sprightly and colored. When the third 
or the fifth is used in the concrete pitch, and the radical 



THE TREMOR OF THE VOICE. 287 

iterations are carried through the wider intervals of the 
scale, it gives the utmost indication of vivid excitement. 

Laughter is generally made on one of the tonic elements ; 
but it may be executed on the subtonics, and even on the 
atonies in a whispering breath. It is made on all places 
within the compass of the voice, but it generally affects the 
falsette. Supposing the quality of the voice to be given, that 
mode of laughter will be most agreeable and varied and 
spirited, which is made by a tremor of well accented tittles, 
distinctly separated from each other ; with a concrete pitch, 
moving in succession, through every interval except the semi- 
tone ; and playing through the whole range of the vocal 
compass, in its radical pitch: the expression being still fur- 
ther marked by variations in force or loudness, as the tremor 
rises and falls by these radical changes. 

Crying is made by a movement through the simple rise or 
fall of the semitone, or of the minor third, or through the di- 
rect or inverted wave of these intervals. No other interval 
is used in this function : The act of crying has two modes: 
it may be in the concrete or in the tremulous scale. Infants 
cry in the first manner, by a mere protracted quantity on 
some tonic element. It is a long time before the tremor is 
heard in their voice. The first step towards it, is in the con- 
vulsive catch of sobbing. By degrees this increases in fre- 
quency, and the cry becomes thereby, at last composed of 
the rapid iteration of the tremor. 

The tremulous function of crying, like that of laughter, 
consists of a concrete and of a radical pitch. That is, its 
iterations of the rapid concrete semitone or minor third, may 
successively ascend or descend through the whole compass 
of the voice, by such minute discrete steps as were ascribed 
to the radical pitch of laughter. The tremulous mode of 
crying gives the strongest characteristic of this function. 

It sometimes happens that children whilst crying in the 
tremulous movement, do from some momentary change of 
sentiment, and without a cessation of the tremor, pass into 
laughter. Here a cheerful sentiment necessarily produces a 



288 THE TREMOR OF THE VOICE. 

change of the concrete, from the semitone or minor third, to 
the second or other wider interval. And in a paroxysm of 
hysteria, the transition between these different means of gay 
and of plaintive expression is so frequent and rapid, that the 
hearer is sometimes at a momentary loss, to say which func- 
tion is in operation. Under these circumstances, a person 
may properly be said to laugh and cry in the same breath. 

The association of the semitone or minor third, whether in 
their simply prolonged or in their tremulous form, with the 
sentiment of distress is so close, that though crying may 
have ceased, still should the feeling of distress not have 
passed away, there will be a kind of mental hiatus in the at- 
tempt to return even to the diatonic intonation of speech. 
The chromatic will rather be assumed. There are persons, 
who, for the sake of sport or fraud, play the part of crying. 
If they are habitual mimics, and have flexible voices, they 
may succeed. But nature is often honest, where humanity, 
her counterpart, is ready to deceive. Crafty men are so well 
aware that the lips may mar the underplots of the heart, 
that they are obliged to guard the ruling passion by silence. 
When mirth or sorrow is within us, it is hard to restrain its 
habitual expression. He who would be to the intelligent 
observer, an unsuspected hypocrite in his voice, must mask 
even his sentiments to himself. 

After the foregoing account of the use of the tremor upon 
single elements, in the functions of laughter and crying, it is 
not difficult to foresee the effect of its application to syllabic 
utterance in the current of discourse. 

When the semitone in the chromatic melody of speech, is 
given under the form of tremor, it increases the force of 
the plaintive expression which belongs to the simple con- 
crete of that interval. For since crying is the ultimate 
voice of distress, its tremulous characteristic is applied to 
speech as the means of marking an excess of complaint and 
grief, and the ardor of distressful or tender supplication. 
Tremulous speech is the utmost practicable crying upon 
words. 



THE TREMOR OF THE VOICE. 289 

To exhibit the engrafting of the tremor on a syllable, let 
the reader pronounce the word name, in a tremulous move- 
ment through the simple rise, or fall, or wave of the semi- 
tone. He will perceive that the tremor is made equally on 
the tonic, and on each of the two subtonic elements, which 
constitute the syllable. 

The tremor on the semitone may be applied to mark em- 
phatically, the plaintive sentiment of a single word : or it 
may be used in continuation upon occasional, yet limited 
portions of discourse. If the tremor, with this restricted 
application, deserves a name, it may be called the Tremulous 
chromatic melody. The following stanza, in which the 
tremor of age is supposed to be joined with that of supplica- 
ting distress, may, when read with the coloring of dramatic 
action, afford a proper example of this melody. 

Pity the sorrows of a poor old man, 
Whose trembling limbs have borne him to your door, 
Whose days are dwindled to the shortest span ; 
O give relief and heaven will bless your store. 

Here the tremor of the semitone may be applied to every 
syllable capable of prolongation, w 7 hich is the case with all 
except those of pity and shortest: but even these may with 
pardonable extension, receive it. For it must be under- 
stood, that some particular purposes of expression allow an 
extension of quantity on those immutable syllables, and un- 
emphatic and unaccented words, which in dispassionate 
utterance would bear but the shortest time. 

The occasional use of the tremor of the semitone upon in- 
dividual words, will be noticed in the future section on 
Emphasis. 

When the tremulous function is made through the second, 
third, fifth, or octave, or through the wave of these intervals, 
it joins the sentiment of derision, mirth, joy, or exultation to 
that of interrogation, surprise, command, or scorn, con- 
veyed by the smooth concrete of those intervals. In short, 
it is applying to speech what is transferable in the function of 
37 



290 THE TREMOR OF THE VOICE. 

laughter ; and it adds thereto all the meaning and force of 
its satisfaction. 

The tremor on these wider intervals is used principally 
for emphasis, as will be illustrated hereafter: though in play- 
ful discourse, it is sometimes heard in continuation on more 
than one syllable, and occasionally even on short sentences. 

There is a use of this laughing tremor, as we may call its 
inarticulate execution on the second, third, fifth, and octave, 
which deserves notice. I mean its employment in that hys- 
terical exclamation which is heard in the exaggerated scenes 
of the drama. In this case, the laughing tremor seems to be 
strangely subservient to all species of expression : for there 
is scarcely an excessive degree of passion, whether of joy or 
suffering, in which it may not be effectively used. One can 
understand readily why this vehement expression should de- 
note the excess of those feelings which are naturally con- 
nected with laughter ; but it is not at once manifest why 
nature should so reverse the ordination of her signs, as to 
give the concrete tremor of the second or of wider intervals, 
to those sentiments which in cases of less excitement instinct- 
ively receive that of the semitone or of the minor third. Let 
us try to explain this matter. 

The occasions on which this hysteric laugh ^ employed, 
are those of the highest possible intensity of distress. Now 
by the natural rule of moderate expression, the tremulous 
semitone should be used : and with this indeed the expression 
does generally begin. But as the feeling increases in vehe- 
mence, the mind becomes so far overruled by its excess as to 
dissever the natural association : and the voice, giving way 
to the mere habit of employing the wider intervals for keen 
expression, leaves the concrete tremor of the semitone or 
minor third, for the more free expansion and piercing energy 
of the third or fifth or octave. This is the reason why in 
hysteria, which is usually brought on by distress, or other 
strong emotions, the ordinary course of plaintive expression 
is averted ; and whilst the more moderate forms of this ner- 
vous excitement are signified by the semitonic intonation, its 



THE TREMOR OF THE VOICE. 291 

higher gusts are characterized by an idiotic laugh. Now, 
although this hysteric expression may, when judiciously ap- 
plied, be both proper and effective, in an extraordinary 
scene of the drama ; yet as it is generally accompanied with 
considerable grimace, is a positive thing, and can be well 
heard in the remote corners of the gallery, it is apt to be 
employed as a vocal trick, by the Actor, and especially the 
Actress, who without feeling its appropriate occasion, have 
yet, by study or nervous habit, a skilful command over its 
mechanical execution. 

It requires more than common facility of voice to perform 
the tremor with precision and elegance. Its full efficacy and 
most graceful finish is accomplished, by giving it the greatest 
number of breaks or iterations of which the assumed inter- 
val is susceptible ; by making the constituent tittles in fluent 
succession, with a distinct accent, with equal time and force, 
and with a ready power of ascent and descent through the 
scale. 

As the tremor may be applied to all the intervals both as- 
cending and descending, and to their combination in the 
wave ; and as these intervals bear different kinds or various 
degrees of expression, it follows, that the character of the 
tremor may appear under other modifications than those of 
joy and sorrow. For if it be set upon a downward interval, 
say of the fifth, the expression will be of a graver cast than 
when heard on a rise of the same extent : and on the rising 
second it will have less gaiety than on the rising fifth or 
octave. 

After the preceding view of the simple intervals, and of 
the tremor, the reader must be able to foresee and to recog- 
nize the effect of any other detailed combinations. If with 
all I have said, he will not do this for himself, it would be to 
no purpose to do it for him. It is an agreeable office to 
stand prompter to a pausing, yet a ready comprehension: 
but it is an irksome duty, to be obliged to push an unwilling 
intellect on to the last syllable of its part. 



292 FORCE OP VOICE. 

SECTION XXXIII. 

Of Force of Voice* 

The words loud and soft, strong and weak, are used in 
common language, to signify the variations of sound compre- 
hended under the generic term at the head of this section. 

This subject may be set in two aspects. Force of voice 
may be applied to phrases, or to one or more sentences, in 
order to distinguish them from adjacent phrases or sentences 
in discourse. It may likewise be limited to single words, to 
syllables, and to certain parts of the concrete movement, to 
distinguish them from other words and syllables, and from 
other parts of the concrete. The detailed history of this 
limited application of force, will be given in the six following 
sections. Under the present head I speak transiently of its 
use on phrases and sentences. 

Writers on elocution, and school books on the art of read- 
ing, give general rules for enforcing and reducing the voice, 
on continued passages. It is not necessary to swell the bulk 
of this volume, by transcribing them. It may not however 
be useless to run over the process, by which a philosophical 
inquiry might be conducted, for reaching the principles 
that direct the association of various degrees of force, with 
the circumstances of the speaker, or with affections of the 
mind. 

From the wide reach of an intense exertion of the voice, 
there is an obvious propriety in its employment, when dis- 
tance is pictured in discourse. The indication of nearness, 
on the contrary, is well expressed by an abatement of that 
force. 

Secrecy muffles the voice against discovery : and doubt, 
whilst it leans towards a positive declaration, cunningly pre- 



FORCE OF VOICE. 393 

pares the subterfuge of an undertone, that the impression of 
its possible error may be least exciting and durable. 

Certainty, on the other hand, in the full desire to be heard, 
distinctly assumes all the impressiveness of strength. 

Anger in like manner uses force of voice, because its 
charges and denials are made with a wide appeal, and in 
the sincerity of passion : and if I may make distinctions on 
this point, the same mode is employed in uttering those feel- 
ings which are blended with anger, such as hate, ferocity 
and revenge. 

All those sentiments which are unbecoming or disgraceful, 
smother the voice to its softer degrees, in the desire to con- 
ceal even the voluntary utterance of them. 

Joy is loud in calling for companionship, through the over- 
flowing charity of its satisfaction. 

Bodily pain, fear and terror, are also strong in their ex- 
pression : with the double intention, of summoning relief, 
and repelling the offending cause when it is a sentient being. 
For the sharpness and vehemence of the full strained cry are 
universally painful or appalling to the animal ear. 

In thus amusing the reader with fancies, for so they should 
be called, I have perhaps ventured too far into the vain and 
presumptuous doctrine of Final Causes. But though we 
have therein temporarily strayed, let us not forget the duties 
of philosophy: It is her office to inquire how things exist; 
the knowledge of why they so exist, must be the last act of 
favor which time and toil will bestow. Our steps over the 
works of man may go hand in hand with the comprehension 
of their final causes : for the author can tell us the narrow 
purposes of their parts. But the final causes of nature will 
be unfolded, only in the last recapitulating chapter of her 
infinite revelation. 

From this cursory view of force, when employed on aggre- 
gates of words, I pass to consider in the following sections, 
the circumstances under which force or stress may be laid 
on single words or syllables, and on different parts of the 
radical and vanishing concrete. It will be shown, that an 



294 THE RADICAL STRESS. 

attentive and well disciplined ear has the ability to perceive 
the different effects of stress, when set on the beginning, the 
middle, and the end of the concrete movement, or when heard 
in immediate succession at its extremes : that the same force 
of utterance may be so continued throughout the concrete, 
as to alter the characteristic feebleness of the vanish : and 
that whilst the relative structure of radical and vanish, for- 
merly described, remains the same, force may magnify pro- 
portionally the whole of the concrete. 

These functions are severally denominated, in the six fol- 
lowing sections — the Radical, the Median, the Vanishing, 
and the Compound stress, the Thorough stress and the Loud 
concrete. 



-- . .*►$ Q £+,„«__ 



SECTION XXXIV. 

Of the Radical Stress. 

The Radical stress consists in an abrupt and forcible emis- 
sion of voice at the beginning of the concrete movement. 

The natural radical and vanish, described in the second 
section, which is here called natural, to distinguish it from 
the other forms enumerated above, was indeed represented 
as having an initial fulness ; but the function of stress, now 
under consideration, is characterized by a greater degree of 
force and a more sudden explosion, at the first opening of 
the voice; whilst the subsequent vanish is carried on in the 
diminishing structure of the natural concrete. There are so 
few speakers, able to give a radical stress to syllabic utter- 
ance, with this momentary burst, and therefore so few who 



THE RADICAL STRESS. 295 

may comprehend the mere description of it, that I must 
draw an illustration from the effort of coughing. It will be 
perceived that a single impulse of coughing, is not in all 
points exactly like the abrupt voice on syllables ; for that 
single impulse is a forcing out of almost all the breath, which 
is not the case in syllabic utterance : yet if the tonic element 
a-we be employed as the vocality of coughing, its abrupt 
opening will truly represent the function of radical stress 
when used in discourse. 

The clear and forcible radical stress can take place only 
after an interruption of the voice. It would seem as if there 
is some momentary occlusion in the larynx, by which the 
breath is barred and accumulated for the purpose of a full 
and sudden discharge. This occlusion is most under com- 
mand, and the explosion is most powerful, on syllables be- 
ginning with a tonic element ; or with an abrupt one, pre- 
ceding a tonic : for in this last case, an obstruction in the 
organs of articulation is combined with the function of the 
larynx, above supposed. When a syllable begins with a 
subtonic, or an atonic which is not abrupt, the full degree of 
explosion is not practicable, as in manful, foster. If such 
words are pronounced with vehement stress, there is always 
an interruption of the voice after the initial element, in order 
that the tonic may receive the full force of radical explosion. 
This account may serve to explain more particularly the 
part which is performed, in intonation, by subtonic elements 
at the beginning of syllables. For it was said in treating of 
syllabication that the subtonic does not always make a part 
of the concrete movement: but when it has more than a 
momentary quantity it is continued upon a line of pitch, and 
the succeeding tonic opens with a proper radical function. 
This occurs on most occasions; for though it is possible for a 
tonic to be opened so cautiously as to allow its being en- 
grafted on a subtonic which has previously risen partly 
through the concrete, still there is so much of the abrupt ful- 
ness in the usual utterance of a tonic element, that it generally 
assumes to itself the first point in the interval. 



296 THE RADICAL STRESS. 

When an immutable syllable, beginning with a subtonic, 
is prolonged by oratorical license, the subtonic is made to 
rise with a concrete movement through the designed interval. 
Thus it is with the words let and pluck when so prolonged: 
yet in these cases, with a view to join all the constituents of 
the syllable into one impulse, the tonic must be given in the 
feeblest effort of the vanish. For should it be pronounced 
without this caution, it will be perceived that after the ini- 
tial subtonic has ascended, the tonic, with the subsequent 
atonic, if struck with force, will, in reality, produce another 
rapid immutable syllable, succeeding one which has been 
formed by the concrete ascent of the subtonic: a subtonic 
being susceptible of the concrete movement, both through a 
simple inflection, and through the wave. 

The power of giving a strong, full, and clear radical 
stress to a tonic element, is not a common accomplishment 
among speakers ; yet the free and proper management of this 
function is of eminent importance in elocution. Its two prin- 
cipal purposes are : — to contribute to the clearness of articu- 
lation ; and to form the distinguishing accent and emphasis 
on immutable syllables. These syllables admitting of only 
a faint display of the peculiar effect of the slow concrete, 
and being incapable, as will be said hereafter, of bearing 
the other modes of stress; the abrupt or explosive enforce- 
ment of the radical is their principal means for distinction. 

Having pointed out the instrumentality of the radical 
stress in the work of articulation, this is perhaps the place 
to consider the means which ensure the distinct audibility, 
and the elegance of syllabic pronunciation. 

This subject has three divisions: the First embraces a con- 
sideration of the specific sounds which the changeable de- 
crees of human convention give to the alphabetic elements. 
The Second regards the subject of radical stress: and the 
Third, an appropriation of the several constituent elements 
of a syllable, to the concrete movement. 

The First of these matters is under the rule of every body, 
and therefore is very properly to be excluded from the dis- 



THE RADICAL STRESS. 297 

cussions of that philosophy which desires to be exact and 
effectual in its instruction. How can we hope to establish 
a system of elemental pronunciation in a language, when 
great masters in criticism condemn at once every attempt, 
in so simple and useful a labor as the correction of its or- 
thography. 

Supposing then the sound of the elements to be precisely 
that which temporary authority has determined, the clear- 
ness of pronunciation will depend, — 

Secondly, on the effective execution of the radical stress. 
Although it will be said presently, that every element should 
be heard in the syllabic impulse, yet the tonic, from its very 
nature is generally the most remarkable in the compound. 
The characteristic of the syllable, therefore, lies, in a great 
measure, within this element ; and a full explosive radical 
stress being laid on it, contributes much to distinct enunci- 
ation. It is this which draws the cutting edge of words 
across the ear, and startles even stupor into attention : — this, 
which lessens the fatigue of listening, and out-voices the stir 
and rustle of an assembly: — and it is the sensibility to this, 
through a general instinct of the animal ear, which gives au- 
thority to the groom and makes the horse submissive to his 
angry accent. Besides the fulness, loudness, and abruptness 
of the radical stress, when employed to give distinct articu- 
lation, the tonic sound itself should be a pure vocality. For 
when it is mixed with an aspiration, the quality of utterance 
loses that brilliancy, which serves to increase the impressive 
effect of the explosive force. 

Thirdly. The doctrine of syllabication, set forth in this 
work, suggests additional means for effecting what is called 
distinct articulation. In order to insure a clear and striking 
utterance, the whole syllable should not only be sufficiently 
loud, but each elementary constituent should be so distinct, 
as to prevent the possibility of confounding syllables which 
have the same tonic element, but which differ partially or 
universally in their subtonics. Now this is to be done by 
distributing the time and space of the concrete properly 
38 



298 THE RADICAL STRESS. 

among the elements of the given syllable. This will be best 
explained by particular instances. I have heard an Actor 
of great celebrity pronounce the word plain, by prolonging 
the voice on 7, and then terminating the syllable by a mo- 
mentary transit on ain. And though in this case, I was 
clearly audible, yet the rapid flight and blending of a and 
n rendered the characteristic effect of the whole syllable both 
faint and confused. The consequence of this kind of pro- 
nunciation, as a common fault of the popular Actor to whom 
I allude, was, that if he turned his face from the audience 
whilst speaking, many of his words, though forcible enough 
in mere sound, were unintelligible to an attentive ear, at mean 
distances in the theatre. A practice like this obstructs the 
equable flow of the concrete, and over-rules the proper ap- 
portionment of time to its syllabic constituents. For when 
each of the elements of the word plain has its due portion 
of the concrete, the pronunciation will at once be distinct. 

The principles of articulate utterance under this third 
head, may be exemplified in the following sentence : 

Not that 1 loved Caesar less, but that I loved Rome more. 

If we give emphatic importance to the word more, by the 
mere extent of quantity, and not by peculiarity of intona- 
tion : and if this quantity be spread upon the unequal wave, 
with a view to give the feeble cadence to the dignified pro- 
traction of the word : — Then in an apportionment of the 
elements, should m be carried through the rise of the second, 
and continued downward through nearly the whole extent of 
a third; the o and r being rapidly made at its termination: 
under these conditions, the word will not be well articulated. 
But if the time of the wave be divided into three parts seve- 
rally about equal, and the m, o, and r be respectively as- 
signed to these parts, the utterance will have all required 

distinctness. 

There are many immutable syllables beginning with a 
subtonic, which a reader, in the current of dignified utter- 
ance, is sometimes prompted to prolong beyond the limit of 



THE RADICAL STRESS. 399 

their allowable time. When this practice is assumed by 
oratorical license, the added quantity is generally expended 
wholly on the initial subtonic. Thus if the syllables not, 
met, reck, lit, that, and wc, be unusually prolonged, there 
will be less departure from fixed pronunciation, by giving 
the additional quantity to the subtonics, than to the tonics. 
But still there will be a want of that distinctness by which 
a syllable is immediately recognized : for syllables are known 
in part, by the habit of their quantity, both as regards the 
absolute time of the whole, and the comparative time of their 
elemental parts; and these points, upon the supposition be- 
fore us, are widely varied. Now in the above instances, the 
time of the several elements, which strictly should be about 
equal, is in extreme disproportion : for whilst the subtonic is 
extended to what we have called an indefinite quantity, the 
tonic and the following abrupt element have only their pro- 
per momentary duration. 

And this which is here assigned as the cause of indistinct- 
ness in speech, will be shown, in a future section to be still 
more frequently a cause of inarticulate pronunciation in the 
efforts of the Singing voice. 

In the two cases of the words plain and more, it is re- 
commended to divide the time of the concrete equally among 
the elements ; and this is necessary for the correct pronun- 
ciation of many other syllables, having a similar construc- 
tion. But we cannot give a universal rule on this point, 
since some indefinite syllables, such as men, run, lin, gel, 
have their prolongation on the subtonic elements, and will 
not bear any addition to their short tonics. 

The radical stress may be exhibited both on immutable 
and on indefinite syllables ; in the former case, from the 
shortness of the quantity, the function produces, as it were, 
a mere explosive point of sound. 

This stress may be given to all the intervals both rising 
and falling, and to the beginning of the wave. 

From what has been said, it must not be understood that 
the radical stress is used, merely to give the distinction of 



300 THE MEDIAN STRESS. 

loudness to immutable syllables : the enforcement is likewise 
appropriate to the various sentiments embraced by them. 
But this mode of stress is more particularly a symbol of the 
highest degrees of passion. 



SECTION XXXV. 

Of the Median Stress. 

It was said, the Radical stress is principally effective in 
distinguishing immutable syllables. Long quantities ad- 
mitting of other modifications which may attract the ear, 
more rarely require the initial explosive fulness. They re- 
ceive their stress, with greater embellishment, from an en- 
forcing of utterance on the middle portion of the concrete 
movement. 

As a pause is alwaj^s the preface to abruptness, the ex- 
plosive characteristic of the radical stress, cannot be em- 
ployed during the course of a continuous movement. The 
median stress is therefore a gradual strengthening and sub- 
sequent reduction of the voice, similar to what is called a 
Swell in the language of musical expression. There is this 
difference between them. The swell of song is sometimes 
made on a note continued upon the same line of pitch : 
whereas the median stress is always in either an upward 
or downward course; or about the junction of these oppo- 
site movements in the wave. 

This mode of force is applied to all the intervals of the 
scale ; but its very nature indicates the necessity of pro- 
tracted time for its execution, and therefore, that it is most 



THE MEDIAN STRESS. 301 

distinguishable on the wider intervals. It may be obvious 
even on the simple rise or fall of the second, when unusually- 
prolonged. But the quantity of this interval, as well as that 
of the semitone, is rarely extended to any considerable degree 
in its simple state. For when melodies, in these intervals, 
convey dignified sentiments, the required long quantity, is 
made on their waves. In this case the median stress is 
applied to about the middle of the course of the concretes : 
that is, about the junction of the two lines of contrary flexure. 
And what is here said of the wave of these two intervals, 
must be understood of the wave of all intervals of the scale. 
When the median stress is applied to the double wave, it 
is laid on the course of a downward or an upward con- 
stituent, according as the wave may be direct or inverted ; 
for such constituent will be in each case the middle portion 
of the whole extent of sound. 

The median stress is applicable to the intervals of the 
tremulous scale: and in effect, only enforces by greater 
loudness, the tittles in the middle of any given interval, or 
at the junction of a single wave, or on the middle constituent 
of a double one. When thus employed, it adds impressive- 
ness to the sentiments signified by the tremor, and furnishes 
variety to the ear. 

In as much as force, under any form, may be used con- 
jointly with other means of expression, its principal purpose, 
in combination, is to enhance the power of those other 
means. Thus if the median stress is laid on the semitone, 
it gives force to its plaintiveness : if on the downward con- 
crete, it adds to the degree of its wonder or positiveness : 
if on the rising third, or fifth, or octave, it sharpens the spirit 
of interrogation. Such is likewise the effect of the radical 
stress : the energetic effort of which sometimes amounts 
even to violence. But the median stress now under conside- 
ration, sets forth the intensity of the voice, in a form of 
greater dignity than all the other modes. The radical stress 
having an abrupt opening, and the vanishing, as will be 
shown presently, having a sudden termination, there is a 



302 THE MEDIAN STRESS. 

sharp earnestness in their manner which is not conveyed by 
the median: the aim and power of which 'in the very 
torrent of expression,' is to ' beget a temperance which may 
give it smoothness.' 

Here pardon me, reader, when I pass from instruction to 
eulogy. 

If she could now be heard, I would point in illustration 
to Britain's great Mistress of the voice. Since that cannot 
be, let those who have not forgotten the stately dignity of 
Mrs. Siddons, bear witness to the effect of the graceful 
vanish of her concrete, and of that swelling energy by which 
she richly enforced the expression of joy, and surprise, and 
indignation. But why should I be so sparing in praise, as 
to select her eminent exemplification of the single subject 
before us ; when it seems to my recollection that a whole 
volume of elocution might be taught by her instances. 

It is apparently a partial rule of criticism, but when 
drawn from delicate perceptions, made wise by cultivation, 
it is the best, — to measure the merit of Actors, by their 
ability to give with audible conformity, that same expression 
of the poet, which the soul of the hearer is whispering to 
itself. Such is the rule, which, in my early days of igno- 
rance, but not of insensibility, set up this great Woman's 
voice as the mirror of poetic feeling ; in which one might 
recognize himself, and love the equal picture as his own. 
All that is smooth, and flexible, and various in intonation ; 
all that is impressive in force, and in long-drawn time ; all 
that is apt upon the countenance, and consonant in gesture, 
gave their united energy, and gracefulness and grandeur, to 
this one great model of Ideal Elocution. Hers was that 
height of excellence, which, defying mimickry, can be made 
imaginable only by being equalled. 

Such was my enthusiastic opinion, before a scrutiny into 
speech had developed a boundless scheme of criticism ; 
which while it admits that nature may hold the unrevealed 
power of producing occasional instances of rare accomplish- 
ment of voice ; yet assures us that nothing but the influence 



THE VANISHING STRESS. 303 

of some system of principles, arising out of well observed in- 
stinct, can ever produce multiplied examples of excellence, 
or give to any one the perfection of art. There is a power 
in science which searches, discovers, amplifies, and com- 
pletes ; and which all the strength of spontaneous effort can 
never reach. I do not wish to be asked, how this ' most 
noble mother of the world,'* with only those unwritten rules 
of genius, that still allowed her to incur the dangers of the 
scanty doctrines of her art, — would be accounted by the 
side of another Siddons making her selections of sentiment 
and taste, from the familiar rudiments and measurable 
functions of the voice ; and able by the authority of an un- 
indulgent discipline to be a rational critic over herself. With 
a full reliance on the surpassing efficacy of scientific prin- 
ciples, still in the contentment of recollection, I would not 
wish to answer this question. 

The vision of the Great Actress is before me ! If I am 
beset by an illusion, which another hearing might dispel, I 
rejoice to think I can never hear her again. 



SECTION XXXVI. 

Of the Vanishing Stress, 

Our description of the concrete of speech, represented it 
as formed by an initial fulness, and a gradual decrease. 
Now it must be obvious to the reader, that the construction 

* I refer here to the salutation of Coriolanus to Volumnia : for it is in this 
character Mrs. Siddons always comes upon my memory ; embodying the pathos, 
the matron dignity, and the indignation, together with the other moral solemni- 
ties of the scene of intercession in the Volcian camp. 



304 THE VANISHING STRESS. 

indicated by the term Vanishing Stress, annuls, in this case, 
the general law of the concrete. But I thought, the adopted 
term, even with this verbal contrariety, would be more im- 
mediately intelligible, if not more exactly significative of the 
function, than any other newly invented nomenclature. The 
vanishing stress does indeed exhibit a reversed progression 
of force, by a gradual increase from the radical, to the ex- 
treme of the vanish. This mode of production must neces- 
sarily give something like an abrupt termination, with a ful- 
ness of sound, at the extremity of the concrete. 

The peculiar vocal effect of the vanishing stress may be 
illustrated by the natural function of Hiccough. I choose 
this mode of making the reader familiar with the perception, 
because the function has received, in this instance, but with- 
out attention to its construction, a conventional name, and 
because it may be readily imitated for the purpose of experi- 
ment. The hiccough, then, is produced by the gradual in- 
crease of the guttural sound, until it is suddenly obstructed 
by an occluded r atch, somewhat resembling the element k, 
or g. If this mode of sound be compared with a single act 
of coughing, the difference between the vanishing and the 
radical stress will be conspicuous. The hiccough, however, 
does not resemble the proper vanishing stress of speech in 
all points; for this last function does not necessarily end like 
the hiccough, except the syllable which bears it is terminat- 
ed by an abrupt element. The hiccough may be made on 
all intervals of the scale. In ordinary cases, it assumes that 
of the second : but when it is attended with great distress, 
as sometimes happens in disease, it is heard through the in- 
terval of the semitone. 

The effect of the vanishing stress may be perceived in the 
speech of the natives of Ireland ; many of whom employ it, 
in the form of the simple rise or fall, or wave, on all the 
principal words of a sentence. It is this function which 
produces that quick and peculiar jerk of syllabic sound, 
heard in the earnest pronunciation of the lower orders of 
that people. 



THE VANISHING STRESS. 305 

The vanishing stress is practicable on each of the rising 
and falling intervals of the scale. When used on the wave, 
it must be understood as occurring on the last constituent. 

This stress being one of the modes of force, its operation 
consists in giving to the characteristics of the several inter- 
vals, a more attractive power over the ear, than belongs to 
their natural concretes. Thus in the second, which has no 
peculiar expression, it only adds that Irish jerk which de- 
forms without enforcing speech. On the third, and fifth, and 
octave, it gives intensity to the spirit of interrogation. On 
the downward course of these intervals, it enhances the de- 
gree of surprise and positiveness ; and on the wave, adds 
power to the expressions which belong to its various con- 
structions. 

The effect of the vanishing stress on a semitone, may be 
heard in the act of Sobbing. This is made on a guttural 
sound gradually increasing in force and terminated in some 
cases by an occluded catch. Now when the vanishing stress 
on the semitone is used in discourse, it is, as it were, a sob- 
bing upon words ; and serves to mark intensively, the dis- 
tressful character of the simple concrete. The expression 
of pain or grief may require enforcement, when uttered 
with that quickness of time which does not admit of the 
doubled influence of the semitone, produced by the wave of 
this interval. This increased effect may be given to the 
simple movement in quick time, by the vanishing stress; 
which brings out in high relief the dimensions of the inter- 
val, and the mournful display of its expression. 

Upon this subject it may be remarked in relation to all the 
intervals, that the nature of discourse occasionally requires 
so quick a time that only the simple rise or fall can be em- 
ployed : and yet, it may be highly necessary to designate a 
given interval strongly and clearly. This can be accom- 
plished by the vanishing stress. For a hasty utterance of 
complaint and of interrogation, which has time for flight 
only in one direction, will, for the purpose of marking its 
several symbols on the ear, apply this terminative force to 
39 



306 THE COMPOUND STRESS. 

the simple rise or fall of the semitone, third, fifth, and 
octave. 

It was stated that the radical stress is effective, principally 
in distinguishing short quantities. On these the vanishing 
stress is not cognizable. It requires a longer time ; and its 
application thereon, gives an equal degree of force with the 
median stress: but it has much less dignity and grace than 
the gradual swell of this last named mode of forcible ex- 
pression. 



►e© 



SECTION XXXVII. 

Of the Compound Stress. 

Besides the perceptible function of stress, when laid ex- 
clusively on the beginning, or middle, or end of the con- 
crete, it is within the power of the cultivated and attentive 
ear, to recognize the abrupt opening of the radical, and the 
full termination of the vanishing stress, when used in succes- 
sion on the same syllable. The best reference for illustration 
of this function, is to the vocal grace called a Shake : for I 
shall endeavor to show hereafter that the characteristic 
action of this grace consists in a rapid iteration of the con- 
crete, when impressed with both the radical and vanishing 
stresses. 

The compound stress, when applied to syllables of long 
quantity, may be used on the narrow intervals of the scale ; 
but it is more definitely audible on the wider spaces of the 
fifth and octave. It may likewise be executed on the various 



THE COMPOUND STRESS. 307 

forms of the wave ; in which case the final stress is laid 
on the last constituent. 

After what has been said of the radical and the vanish- 
ing stress, of which this under consideration is but a com- 
pound, it is scarcely necessary to remark, that it affords 
means for adding force to the sentiments indicated by each 
constituent stress, when used singly on a syllable. And 
though the effect of the alternate radical and vanishing 
stress is beautifully exemplified in the shake of song, and 
may be made manifest in the speaking voice ; yet this com- 
pound function cannot, on a short quantity, be distinguished 
from the simple radical abruptness : nor indeed is there, in 
this case, time for its existence. 

Let us suppose that a syllable of long quantity conveys 
the sentiment of angry or authoritative inquiry ; and that 
the fifth, with protracted intonation, is the interval chosen 
for this interrogative. The sharpness of effort required 
here as the symbol of anger or authority, would be rightly 
represented by the radical stress, whilst the full-marked 
extent of the interval under the increased force of the vanish, 
would give a corresponding energy and impressiveness to the 
interrogation. The compound stress is, however, by no 
means an agreeable mode of force. There is a snappish- 
ness in its intonation, which should always be avoided by a 
good reader, except on those rare occasions, that especially 
call for the peculiarity of its expression. 



308 THE THOROUGH STRESS. 



SECTION XXXVIII. 

Of the Thorough Stress, 

By this mode of force in the construction of the concrete, 
we are to understand, a continuation of the same full body of 
voice throughout its whole course. 

It may be readily distinguished from the median, the van- 
ishing, and the compound forms of stress, when these are set 
on long quantities ; and may therefore claim a separate 
notice in a philosophical analysis of speech. But I cannot 
point out any peculiar expression in it, which is not conveyed 
by the compound stress, or by the radical when applied on 
short syllables. 

This Thorough force may be given to all the intervals of 
the scale ; and when spread over the wave, it is to be re- 
garded as equalizing the stress throughout all its constituents. 






SECTION XXXIX. 

Of the Loud Concrete. 

By the Loud Concrete, I mean that stress which distin- 
guishes a given syllable from adjacent ones; the parts of the 
concrete still retaining the comparative structure of the radi- 
cal and vanishing movement. It is, in short, what was called 



TIME OF THE CONCRETE. 309 

the natural concrete, magnified by force. It is not distin- 
guishable on a very short quantity; the radical stress being 
the proper mode of intension on such syllables. 

As far as I perceive, it has no peculiar character of expres- 
sion. It is introduced here, only because it will be referred 
to, in a future section, on accent. 

All the modes of stress which have thus been enumerated, 
may be applied to the various tremulous concretes, and to 
the tremulous wave. They give energy and variety to a 
tremor of the wider intervals, which serves for laughter, for 
interrogation, and for emphasis : and to that of the semitone, 
which constitutes the function of crying, and of plaintiveness 
in speech. 



SECTION XL. 
Of the Time of the Concrete. 

The radical and vanishing movement was represented as 
having an equable continuation of time throughout its pro- 
gress ; and as having thereby a marked distinction from the 
varied proportions of the radical and vanish, in Recitative 
and Song. 

The purposes of expression sometimes demand a change 
of this equability of the concrete, into a quicker utterance of 
its beginning, or middle, or end. This condition of time is 
closely connected with the application of the different modes 
of stress : for it is difficult to give stress without running 
into quickness of time, and it is as difficult to give quick- 
ness to time, without marking the rapid part of the con- 
crete with stress. The connate relation of these functions 



310 THE ASPIRATION. 

is most conspicuous in the radical stress ; for its sudden 
burst is necessarily followed by a momentary quickness of 
utterance. The median and the vanishing stress, when 
strongly emphatic, likewise carry with them a rapid run of 
time: for there is in this forcible execution of these last 
named functions, an endeavor to reach, as far as can be, on 
an unbroken concrete, the explosive nature of the radical. 
These fitful gusts of breath, if I may so call the quick tran- 
sits through the radical, median, and vanishing places, may 
be employed, like the stress itself which respectively accom- 
panies them, on all the intervals of the scale, and at the same 
places of the wave on which the stress is applied. There 
may also be a compound quick time of the concrete, attend- 
ant on the compound stress, in the prolonged movements of 
speech. 

On the whole, regarding the time of the concrete sepa- 
rately from stress, it cannot be recommended as a matter of 
any importance in the work of expression. It was my pur- 
pose to analyze speech. This quickness was perceived ; and 
it is therefore transiently noticed. 






SECTION XLI. 

Of the Aspiration. 

We have thus far learned that five accidents of sound, — 
Quality, Time, Pitch, Abruptness, and Force, together with 
the absence of all impression in the Pause, do by their sepa- 
rate and their mingled influences produce the varied effects 
of speech already described. 



THE ASPIRATION. 3H 

The works of nature are cunning patterns of combination: 
and the function which is now to be considered, will make a 
new disclosure of the means for diversifying the effect of 
these elementary agents. The subject of this section does 
properly belong to the head of quality of voice. But since it 
has received a place and name among the alphabetic ele- 
ments, and has peculiar properties, it has here a separate 
notice. I shall therefore endeavor to show that the element 
symbolized by the letter h, or, as it is called, the Aspiration, 
has eminent powers of force and expression. 

By calling h a mere breathing, some authors imagine they 
insure the right to reject this element from the alphabet. 
Let it be said in truth, that the aspiration is suited only to 
near audience; and that it wants the fine vocal qualities of 
the tonics. But whilst harrow and arrow shall owe the 
difference of their meanings respectively to the presence and 
absence of the element, that breathing will fulfil the purpose 
of articulation, though it may not conform to the exact defi- 
nition of it. Notwithstanding, the defects of the aspiration 
cannot be denied, under the cold measurment of orthoepy, it 
is still pre-eminently entitled to notice as a powerful agent 
in oratorical expression. 

The element h is slightly susceptible of pitch and abrupt- 
ness; but it admits freely of time. Through the exercise of 
this function it must be redeemed from an alleged insignifi- 
cance, by furnishing the expressive interjection of Sighing. 
It admits, to a certain degree, of the variations of force ; 
exhibiting most remarkably, under the calls of emphasis, the 
median stress. In uncompounded words it is almost exclu- 
sively found at their beginning; where its force may be most 
effectually exerted. This element is frequently a constituent 
of those words which have universally an energetic meaning, 
as havoc, horror and huzza ; and it exists in most of the 
interjections in all languages. 

Besides the abovementioned instances of its expression, 
where common orthography has given it a literal place, it is 
in certain cases of emphasis engrafted on the several tonics 



312 THE ASPIRATION. 

and subtonics. For though the aspiration, as we have seen, 
does serve the purpose of a distinct constituent of words; 
yet it may be severally joined to all those elements which 
have a vocality, without destroying their individual charac- 
ters. The pure quality of the tonic is indeed impaired by 
the union; for the excellency of this species of element was 
negatively defined, by declaring its freedom from aspiration: 
but the loss of purity is supplied by other advantages of ihe 
association. 

There is some inexplicable mechanism of the organs of 
speech, by which a strenuous pronunciation of the tonic ele- 
ments becomes semi-aspirated. If we suppose the word 
horrible to be deprived of its aspirate, it will be found im- 
possible to give the fragment orrible, in prolonged and ener- 
getic exclamation, without restoring in, a great degree, the 
abstracted element. The question, how far this unavoidable 
combination operated to introduce the aspirated element, for 
the expression of the force of instinctive animal feeling, 
which may have prevailed at what is called the origin of 
language, we will leave to the everlasting disputes of those 
who look for truth in fancy, and who teaze themselves in 
the pursuit of undiscoverable things. 

Vociferations on syllables which do not orthographically 
contain the aspiration, nevertheless assume it, and corrupt 
thereby that pure quality of the tonics which character- 
izes their abated utterance. Nay, in the excessive force of 
such exertion of the organs, the voice is sometimes lost, 
from the atonic aspiration overruling the tonic vocality. 
The nature of the conjoined functions, thus exhibited in the 
vehement force of the voice, may be illustrated by the sub- 
tonics y-e, and w-o, which are respectively a compound of 
aspiration with the monothongs ee-1, and oo-ze. The 
other three monothongs e-rr. e-nd, i-n, when united with the 
aspiration become obscurely the basis of the several other 
subtonics. And though the subtonics are thus, in a manner, 
formed by the mingling of vocalities with aspiration, they 



THE ASPIRATION. 313 

are yet capable of a further addition, for the purpose offeree 
or oratorical expression. 

The diphthongal tonics do not receive the aspiration with 
the same effect as the monothongs : since there is some- 
thing in the nature of the diphthongs, which prevents as 
great a change upon them as takes place on the monothongs, 
by a union with the aspiration. 

It was shown formerly that whispering, which is only the 
articulated mode of aspiration, has its pitch formed upon a 
succession of different alphabetic elements. Now whatever 
may be its difficulties of intonation as a simple breathing, it 
does when joined with the tonics move through all the inter- 
vals of the scale, and take on every form of stress. 

In order to show how far this function assists in the ope- 
rations of speech, let us keep in mind what was said above, on 
the spontaneous connexion between a vehement exertion of 
the voice, and its aspiration ; and consider, further, the two 
following forms of expression. 

There is a sort of facetious comment of surprise and in- 
credulity, consisting of an effort of aspiration modified by 
the tongue and lip§, into what I formerly called the sufflated 
whisper. The movement of this sufflated interjection is that 
of an unequal direct wave : the first constituent being a tone 
or wider interval, according to the spirit of the expression ; 
and the second a descent to the utmost audible pitch of the 
breath. 

The other effort of aspiration to which I alluded, is made 
by the larynx alone. It is the function of Sighing : and its 
pitch is sometimes the simple rising, but more frequently the 
falling concrete through a second or wider interval, ac- 
cording to the intensity of the feeling which prompts it. 
This is well known to be the symbol of distress, grief, and 
anxiety ; and of fatigue and exhaustion, both of body and 
mind. Now since these different cases include the general 
powers of expression, in the simple and natural aspiration, 
we can therefore infer what will be the effect when this 
aspiration is joined with the vocality of speech. 
40 



314 THE ASPIRATION. 

It may seem an exception to the consistencies of nature, 
that a quality of voice, which, under the form of a whisper, 
is the symbol of the desire of concealment, should be found 
united with the most forcible exertion of the organs. Such, 
however, is the fact ; for when the aspiration is conjoined 
with loudness, in some of the vehement modes of stress, it 
becomes a sign of the highest vocal violence. Its union 
therefore with any rising or falling interval of the scale, 
gives increase to the expressive power of that interval ; 
and if I do not mistake, adds the sentiment of eagerness, 
or sneer to those intonations, which, in their purely vocal 
form, severally convey surprise, interrogation, irony and 
command. 

Should this aspiration be given with an abatement of 
voice, thereby approximating towards a whisper or a sigh, it 
will produce a difference of expression, according to the 
extent of its pitch. When a second or wider interval is 
employed, it becomes the eminent symbol of earnestness or 
of apprehension. Thus, the expression of the following lines 
if pronounced with a pure vocal ity of the elements, will fall 
short of the feeling of the speaker : 

Hah ! dost thou not see, by the moon's trembling light, 
Directing his steps, where advances a knight, 

His eye big with vengeance and fate 1 

Nor would the point be gained, if the reading should be 
characterized by an aspirated vociferation. But when the 
utterance is reduced in force, and at the same time aspirated, 
the earnestness of attention, and of appealing interrogation, 
becomes immediately obvious, in this created huskiness of 
voice. 

Should an abated voice be aspirated on the tremulous 
movement of a second or wider interval, it may convey the 
sentiment of fear. When this abatement is aspirated in a 
simple rise, or a wave of the semitone, it is, as it were, a 
borrowing from the sigh ; and thus gives intensity to the 
plaintiveness or distress which belongs to the simple vocality 



THE EMPHATIC VOCULE. 315 

of the semitonic movement. But when the tremulous into- 
nation is superadded to the aspirated semitone, the voice ex- 
erts its ultimate means, for marking the deepest sadness, with- 
out availing itself of crying and tears. 

Aspiration, when combined with the different forms of 
stress, and with guttural vibration, to be described presently, 
especially expresses contempt, and the like sentiments : hence 
the ability toembue nearly every interval of intonation with 
that expression. Even the simple movements which indi- 
cate surprise, inquiry, and emphatic declaration, may, by this 
means, be made contemptuous : but the sentiment is more 
strongly marked when the aspiration is applied to the forms 
of the wave ; the bearing of scorn being most conspicuous 
on its unequal structure. 






SECTION XLII. 

Of the Emphatic Vocule. 

In that section where the elements are enumerated, we 
learned, that when the articulative occlusion, by which the 
six abrupt elements are made, is removed, there is a slight 
momentary issue of voice which completes the formation of 
these sounds. This was called the Vocule. Like all other 
voices, it is susceptible of force. Its higher degrees of stress 
constitute the function named at the head of this section. 
The emphatic vocule marks great energy of sentiment ; and 
naturally follows those words which close with one of the 
abrupt elements. 

The vocules of b, d, and g, are vocal. Those of k t p, 
and t, are aspirated : but are sometimes changed to vocali- 
ty, in an attempt to give strong emphasis to them. Only 



316 THE EMPHATIC VOCULE. 

the most vehement feeling will justify the use of this mode 
of force, at the end of an emphatic word ; and the most 
cautious management is necessary, to prevent its forcible 
utterance from having the effect of rant or affectation. 

It was stated formerly that when an abrupt element pre- 
cedes a tonic, the vocule is lost in the sound of the tonic, 
which in this case issues, as it were, directly from the ab- 
rupt element. Thus in the word light, the vocule is dis- 
tinctly heard at its termination : but if t immediately pre- 
cedes the tonic i as in tile, the vocule is lost, and t seems 
to be merely an abrupt commencement of the sound of i. 
This is the natural and proper mode of coalescence, except 
the abrupt element terminates a word. For in this case a 
junction of the vocule with a following tonic may confuse 
pronunciation by destroying that clear limit which should 
give a separated individuality to every word of a sentence. 
This fault is sometimes even designedly assumed, in order to 
remedy a want of physical energy in pronunciation. Per- 
sons who are called upon to give the utmost sharpness to 
their accents, and who have not the practical skill to ex- 
plode the voice suddenly on a tonic, avail themselves of the 
facility of bursting out from an abrupt element, into the 
tonic of a succeeding word. Thus if the phrase bad angels, 
should require force, either for emphasis or for a distant 
auditory, it would, with a view to this explosion, be pro- 
nounced bad-dangels. But as the arrangement of elements 
is a casual thing, it must happen that the same word will 
occur in discourse, both with and without a preceding ab- 
rupt element : and besides, the common exertion of force 
does not require this coalescence. These circumstances will 
prevent the effect of the junction from becoming familiar to 
the ear, and thus passing for a proper and constant charac- 
ter of the word. A forcible pronunciation according to this 
method, will, therefore, in some cases, create mistakes with 
regard to the sound of words; and lead in most instances, 
to that momentary hesitation which is incompatible with an 
exact perception of oral discourse. Let the phrase music 



THE GUTTURAL VIBRATION. 317 

sweet art be pronounced in this manner, and the combina- 
tion will present an image both ludicrous and contradictory. 

If what has been said, on the subject of distinct articula- 
tion, as effected by the full and clearly formed radical stress, 
is thoroughly applied, the designed purpose of this junction 
of tonic with abrupt elements may be accomplished without 
interfering with the perception of a clear outline in the 
boundary of words. Since this demarcation is necessary 
for effecting that distinct and deliberate utterance, which 
characterizes the dignified departments of an exalted elocu- 
tion. 

In the rapid energy of colloquial speech, and in the pas- 
sionate haste of elevated delivery, this coalescence of the 
elements is more liable to occur : nor in these instances can 
it always be avoided. 



SECTION XLIII. 

Of the Guttural Vibration. 



In speaking of the mechanism of the voice, it was shown 
that the retraction of the root of the tongue, together with 
a closure of the pharynx, produces what seems to be a con- 
tact of the sides of the vocal canal above the glottis, and 
thus gives rise to a harsh vibration, from the gush of air 
through the straightened passage. This peculiar sound may 
be made on the tonic and subtonic elements ; the varieties 
of which are distinguishable, notwithstanding their combi- 
nation with this grating noise. I have called this function 



318 OF ACCENT. 

of the voice, the Guttural Vibration, on account of its ap- 
parent formal cause. 

This guttural function is practicable on all the intervals 
of the scale : and it adds to their respective characteristics, 
its own peculiar expression. This expression consists in the 
strongest degree of contempt, disgust, aversion or execration ; 
and these sentiments are most strongly marked on the into- 
nations of the wave. 

When the guttural vibration is given with an exploded 
radical stress, it makes the speaker himself feel, in its dis- 
ruption from his organs, that the effect must spread widely 
around him : and whilst it assaults the air with its percus- 
sion, that it must break through the ear, into the under- 
standing and heart of an audience. 



Having thus described the particular species into which 
the generic affections of Pitch and Force are subdivided ; 
and having marked out some of the occasions for their ap- 
plication in speech, we are now prepared to consider the 
special points of these functions, comprehended under the 
terms Accent and Emphasis. This detail will form the 
subjects of the two following sections. 






SECTION XLIV. 

Of Accent. 

Accent is defined in philology, to be — the distinguishing 
of one syllable of a word from others, by the application of 
a greater force of voice upon it. This is a true, but limited 



OP ACCENT. 319 

account of accent; for it will be found on analysis, that the 
accentual characteristic consists in a syllable being brought 
under the special notice of the ear. This may be done by 
force; but it will be shown presently that it may be likewise 
effected through other audible means. 

No word when uttered singly, except as as ellipsis, con- 
veys any intelligible meaning. Accent, which is one of the 
attributes of individual words, cannot therefore embrace 
what is properly called expression. When the conspicuous- 
ness of a syllable, whether made by force or other means, 
carries with it a remarkable meaning, or a sentiment, it con- 
stitutes the function called Emphasis. 

If the difference, thus stated, between accent and empha- 
sis is accurately pointed out, Accent may be defined in 
general terms, to be — the inexpressive distinction made be- 
tween the syllables of a word. This simple audible promi- 
nence may be effected by the radical stress, — the loud con- 
crete, and — a longer quantity on the noted syllable. 

In the First place. The radical stress constitutes the 
accent on immutable syllables. The word iterated has four 
short syllables, with the accent on the first. But the brevity 
of this syllable not admitting the distinction of a prolonged 
quantity, or even of the loud concrete, the accent must be 
made by a sudden burst of the radical stress, into a momen- 
tary force. The accent may be transferred to either of the 
other syllables, by giving the necessary degree of radical 
abruptness respectively to each. 

Secondly. Syllables which have length sufficient to ren- 
der the radical and vanishing movement cognizable, admit 
of accentual distinction by the loud concrete. In the word 
Padington, the three syllables are of moderate length, and 
about equal. As the first has quantity sufficient to prevent 
the necessity of adopting the explosive radical stress, its 
high-relief in pronunciation can be brought out by the loud 
concrete alone. In this example, the accent may be easily 
transferred to either of the other syllables, by a slight in- 



320 OF ACCENT. 

crease of force : and it is to be remarked, of syllables to 
which the loud concrete is applicable, that they readily 
receive at the same time, an addition of the radical stress. 
But the former mode of distinction being adequate to the 
inexpressive denoting of accent, there is no call for the 
further help of the radical abruptness, except on occasions 
which require the expressive distinction of emphasis. 

Thirdly. When the time or quantity of one syllable ex- 
ceeds the rest, that syllable readily receives the accent, and 
even when unassisted by loudness or abruptness, sometimes 
necessarily assumes it. If the word victory be pronounced 
with the usual degree of radical stress, on the first syllable, 
and the second be subsequently prolonged, as if written vic- 
toe-ry, the distinguishing impression of the accent, which in 
this case may be called the Temporal accent, will be post- 
poned to that second syllable ; even though it should be 
uttered with comparative feebleness, and with all possible 
omission of abruptness. Words which consist of syllables 
of equal time, such as needful, empire, farewell and amen, 
easily undergo a change of accent, merely by a slight ad- 
dition to the length of either syllable. When the word 
heaven is pronounced as if written heav-n, the longer 
quantity of the first syllable assumes the accent ; but when 
divided into two equal syllables as in heav-ven, the place of 
the accent is doubtful : or the word may be said to have 
two equal accents. 

These are the three modes of accentual distinction: ac- 
cent being the prominent and fixed feature which serves to 
identify a word, without enlivening its utterance by any 
peculiar sense or expression. Now as these means are suf- 
ficient to give an importance to syllables, without conveying 
at the same time an especial meaning, which is the design 
of emphasis, we may see the line of separation between these 
functions. It is true that emphasis, which employs all the 
modes of expression, cannot exist without accent ; for the 
emphatic is always the accented syllable : and the expres- 



OF ACCENT. 321 

sive power of pitch, time and stress must give to the em- 
phatic syllable that attractive influence over the ear which 
constitutes the essential agency of accent. 

I have pointed out only the radical stress and the loud 
concrete, as the causes of accent derived from force ; since 
the median, the vanishing, the compound, and the thorough, 
are more commonly used as the means of expressive stress : 
and in the plain pronunciation of a single word, surely no 
one does employ these last named functions. It is proper to 
remark further, that although the modes of accent have 
been represented as independent of pitch, still they do not 
exclude the use of certain of its inexpressive forms. Thus 
the radical stress and the loud concrete do move rapidly 
through a tone; and the temporal accent when very re- 
markable, generally takes the form of the direct or inverted 
wave of the same interval. For this, as was shown in its 
proper place, gives dignity to utterance by means of its de- 
liberate movement: and yet has no peculiar expression 
incompatible with the simple diatonic melody. 

Since it appears that the use of the three modes of accent, 
is in a considerable degree governed by the time of syllables, 
it is desirable to know the circumstances w r hich render these 
modes severally applicable; make them easily changeable; 
and fix the preponderance of their influence. 

Syllables, with regard to their time, were arranged under 
three classes, — The Immutable, — Mutable, — and Indefinite. 
Radical stress is the means of distinguishing immutable syl- 
lables. The loud concrete may be given to the mutable: 
since they have sufficient length for the display of force 
without the necessity of an abrupt explosion. Indefinite 
syllables, by their capability of prolongation, admit of the 
attractive distinction of the temporal accent. But in speak- 
ing of the time of syllables, it was said that those of indefinite 
quantity are sometimes pronounced equally short with the im- 
mutable. Thus lo in loquacity, and lo used as an emphatic 
interjection, exemplify the extremes of duration. Hence it 
follows that the radical stress may sometimes be used on an 
41 



322 OF ACCENT. 

indefinite syllable, in its shortest time : as it is in the accent 
of the word illative. 

In some words, consisting of a long and a short syllable, 
the accents of stress and quantity readily give way to each 
Other, at the option of utterance. Thus in the noun perfume, 
the length of the last syllable yields to the stress on the first. 
But in the verb perfume, the stress as easily gives way to 
the temporal accent on fume. 

Of all the modes by which one accented syllable of a word 
is embossed upon the ear, if I may so speak, in higher relief 
than others, the most common is that of the temporal im- 
pression. In the English language the accented syllable is 
generally the longest : and the excess of length alone, without 
any apparent radical abruptness, or an increase of force on 
the whole concrete, above the neighbouring syllables, is suffi- 
cient to answer all the purposes of accentual distinction. 
The majority of writers, without sufficient examination, have 
resolved all accents into excess of force. 

In as much as the radical accent belongs to short sylla- 
bles ; and as the loud concrete may be arbitrarily applied on 
all but short syllables, it may be inquired, — which of the 
modes has the most influence in pronunciation, by its con- 
trolling or excluding power. In most words, this predomi- 
nant influence is readily changeable, by an increased applica- 
tion of the means which distinguishes each mode: as in the 
words commemoration, perlieu, Cordova, Ojitario, the ac- 
cent, of whatever kind, being in these instances as easily 
practicable on one syllable as on another. But in words 
having such a temporal arrangement as occurs in beguile, 
indeed, delay, and revenge, the temporal accent cannot be 
deprived of its supremacy, by a radical stress on the first 
syllable, except through an irksome effort of the organs in 
exploding the first, and abbreviating the last. For it is some- 
times necessary to reduce the quantity of one syllable, in 
order that the radical stress may take the lead on another. 
The accent of the word Emanuel, lies in the quantity of 
the second syllable. Scarcely any force of abruptness can 



OF ACCENT. 323 

transfer the accent to e, whilst man retains its length. 
When this is shortened, the first syllable e, may, through a 
strong radical stress, be made the leading accent; but the 
word will scarcely be recognized in the change. 

In regarding the circumstances of accent, it ought to be 
borne in mind that the difference in kind of the elementary 
sounds, may in some cases, be mistaken for a difference in 
force ; since to many an ear, ee-\ and a-le might seem to be 
surpassed by ou-r and a-we. 

It is also to be remarked, that there are different degrees 
of susceptibility among the elements, in receiving the accent. 
The tonics most easily and conspicuously take on each of its 
three modes. The abrupt elements assist the explosive effort 
of the tonics ; but are utterly incapable of the loud concrete, 
and the temporal accent. The subtonics have little or no 
power, under the radical stress ; but accomplish ell the pur- 
poses of quantity : whilst the atonies are feeble instruments 
of the accentual distinction, with regard both to stress, and 
to time. 

The impressive agency of accent on the ear, is fixed by 
the orthoepy of the English language, on one or two of the 
syllables of all words which have more than one. It is a 
great source of variety in speech; is the principal instru- 
ment of our versification; and when skilfully disposed, by 
the adjustment of a delicate ear, produces, with the assist- 
ance of quantity and pause, the varied rythmic measure of 
prose. 

Some grammarians and rhetoricians, with whom the in- 
telligent Mr. Sheridan is to be ranked, have set forth a rule, 
that when the accent fails on a consonant, the syllable is 
short : and long when on a vowel. Whilst at school, I could 
not understand this great prosodial principle: now, I per- 
ceive it has no foundation. For if accent is variously pro- 
duced by radical stress, the loud concrete, and by quantity, 
a distinction of literal place cannot give the variety which 
the rule supposes. The abrupt stress will always be made 
on a tonic (or vowel,) notwithstanding the syllable may be 



324 OF ACCENT. 

opened on a preceding subtonic or abrupt element. The 
loud concrete must be made on all the elements of the sylla- 
ble without distinction : and the accentual impression by- 
quantity must consist of the united time of tonics and sub- 
tonics, when the syllable is constructed with these different 
elements. But all this is only a denial of the truth of the 
rule, on the grounds of the phenomena of accent which have 
been pointed out in this section. Let us see how the rule 
corresponds with the fact of pronunciation. In the word 
action, the abrupt stress is on a vowel, (tonic) and yet the 
syllable is short : and in the word revenge, the greatest im- 
pression is from the quantity of the subtonics (consonants,) 
and yet the syllable is long. Language is full of like exam- 
ples; and from the illustration they furnish of the nature of 
accent, we may learn that the time of syllables bears no 
certain relation to stress, nor to other modes of the accentual 
agency. The prevalent error on this subject must be ascribed 
to the general cause of all errors, — The want of observation 
at first, and the assumption of notions to prevent observa- 
tion ever after. 

Mr. Walker has given a theory of accent, in which he 
makes it dependent on the rising and falling inflection, as 
indefinitely described by him. If the preceding history of 
intonation is true, and if it has been clearly comprehended, 
the reader must at once conclude that accent can have no 
fixed relationship to a rise of the voice or to its fall : for it 
may be made with every essential characteristic, under either 
of these opposite movements; their junction into the wave ; 
and under all the changeable phrases of melody. 

Much has been said by authors on the subject of accent. 
But I began this analysis of the human voice, with a resolu- 
tion to speak after nature ; not after men. 



OF EMPHASIS. 325 



SECTION XLV. 



Of Emphasis. 

That function which Rhetoricians call Emphasis, is de- 
fined to be — a stress of voice on one or more words of a 
sentence, distinguishing them by intensity or peculiarity of 
meaning. Some writers, without seeming to care much 
about the point, indefinitely attribute to emphasis, a charac- 
teristic intonation : and Mr. Walker imagined he specified 
his idea of' tone' throughout all its conditions, when he made 
an erroneous application of the upward and downward in- 
flection. 

But authority aside ; let us try to do something to the 
purpose, by observing and recording. 

It was stated that Accent is the fixed but inexpressive dis- 
tinction of syllables by quantity and stress : alike both in 
place and nature, whether the words are pronounced singly 
from the columns of a vocabulary, or connectedly in the 
series of discourse. 

Emphasis may be defined to be the — expressive but occa- 
sional distinction of a syllable, and thereby of the whole 
word, or of several successive words, by one or more of the 
specific modes of Time, Quality, Force and Pitch. 

This notable function belongs essentially to the current 
of discourse ; but it may be employed on solitary interjec- 
tions, and on single words which stand as elliptical sentences. 
It will appear hereafter, that emphasis is no more than a 
generic term, including specifications of the use of every 
accident of the voice, for the purpose of enforcing sentiment 
and thought. 

The stated conditions of the voice which constitute accent 
being included among the enumerated causes of emphatic 



326 THE RADICAL EMPHASIS. 

distinction, it may be inferred, that in these particulars, 
accent and emphasis cannot differ from each other. The 
quantity, radical stress, and loud concrete, employed as the 
means of emphasis, have indeed the same characteristic na- 
ture, as in accentual agency ; but their purposes in the former 
case invest them with the attractive influence of emphatic 
expression. 

For a detailed account of the particular occasions of em- 
phasis, the reader is referred to libraries. They contain 
many rhetorical works, setting forth this part of the subject, 
with comprehensiveness, perspicuity and taste. It is the 
aim of this essay to point out and to measure the vocal mate- 
rial of emphasis. 

Emphasis as was stated above, produces its effect upon the 
ear, by means of the quality, and time of sound, the modes of 
stress, and the varied intervals of intonation. The particular 
enumeration of these means will be given under the following 
heads. 



Of the Radical Emphasis, 

When an immutable syllable bears the accent of a word 
which is remarkable by sense, sentiment, or antithesis, the 
audible distinction can be made only in three ways : by 
quality of voice; a wide change in the phrase of melody; 
and the abrupt enforcement of the radical stress. The two 
former modes of emphasis on short syllables, will be noticed 
in their proper places. The last is here illustrated. 

And with perpetual inroads to alarm, 
Though inaccessible, his fatal throne; 
Which, if not victory, is yet revenge. 

If the strongly contrasted feature of the word victory 
is not represented by guttural vibration ; or by aspiration, 
or some other available quality; or if it does not receive 



THE MEDIAN EMPHASIS. 327 

the peculiar coloring, effected by a change of radical pitch 
upward or downward through the skip of a third, fifth or 
octave — If, I say, these are not used, the syllable vie must be 
raised into importance by means of the sharp radical stress : 
at least no other can be operative whilst the syllable is 
limited to its natural quantity. 

It is true, even an immutable time as formerly said, may 
be carried rapidly through any interval of the scale; still if 
this rapid movement is not joined with the radical change, 
it does not deserve to be taken into account in this case. 

Although the radical distinction is here spoken of as appli- 
cable to immutable syllables : it is plain from its nature, 
that it may be laid on those of indefinite time. But since 
these admit of the more agreeable modes derived from into- 
nation, they less frequently require the strong explosion 
of the radical. 

This emphasis is the symbol of sentiments of anger, vio- 
lence, and energy of all kinds ; and is the common mode of 
enforcement, whatever is the time of the syllable, when the 
spirit of discourse directs a rapid utterance. 



Of the Median Emphasis. 

The prominent display of the sense of a word, by a gradual 
increase and subsequent diminution of voice, can be effected 
only on syllables of indefinite time. It gives an importance 
equal to that of the radical stress, but it exhibits the influence 
of force under a form of greater smoothness, dignity and 
grace. In the following sentence, the word sole contains 
a sentiment of warm and serious admiration, which is finely 
set forth by means of this emphasis. 

Wonder not sov'reign Mistress, if perhaps 
Thou canst, who art sole wonder! 

Though the median mode of stress might be executed on 
the simple rise and fall of intervals, when considerably pro- 



328 THE VANISHING EMPHASIS. 

tracted, yet it is most frequently made on the wave. In the 
present case the intonation of the word sole is through the 
wave of the second ; the swell being at the junction of its 
two constituents. 

The reader must bear in mind, that in assigning the mode 
of stress to this, and to preceding examples, I have been 
governed by the principles of speech laid down in this 
volume ; and that I shall continue to apply them, in illus- 
trating the other forms of emphasis included under this sec- 
tion : for if these examples be read in any of those various 
ways which result from instinctive attempts in elocution, I 
shall in all probability be misunderstood. On this ground 
I would allot to the lines above quoted, that plain but deeply 
respectful character which belongs to the utterance of pro- 
tracted quantities in the diatonic melody ; giving to the em- 
phatic syllable the importance of greater time ; and smoothly 
enhancing it by the swell of the median stress. 



Of the Vanishing Emphasis. 

The words which bear this mode of stress are character- 
ized by a degree of violence, nearly equal to that which was 
said to belong to the radical emphasis. Why then are they 
distinguished from each other by name? — The radical is 
perceptible on immutable syllables ; — the vanishing cannot 
be recognized upon them. Some extent of quantity is re- 
quired for its display : and though the sentiment of quick 
energy, that prompts it, generally appropriates it to a simple 
concrete, which has just sufficient time to admit of its appli- 
cation, still it is sometimes effectively made on the utmost 
extension of the single movement, or the wave. 

In the following examples this inversion of the natural 
concrete, may be employed as the symbol of angry impa- 
tience in the one case, and of threatening vengence in the 
other. 

Oh ye Gods ! ye Gods ! must I endure all this ? 



THE COMPOUND EMPHASIS. ( 329 

Oh ! that I had him, 
With six Aufidiuses, or more, his tribe, 
To use my lawful sword. 

If the words here marked in italics, be pronounced with 
the vanishing stress, they will exhibit that Irish provincial- 
ism, which was said to characterize in a degree, this species 
of intonation. 

This form of stress is often used for the hasty energy of a 
question. For since the wider spaces of the scale are the 
symbols of interrogation, the reach of the interval is more 
clearly impressed by this full and emphatic boundary, than 
by the feebler termination of the natural vanish. 

Perhaps a cause of the peculiar expression of the vanishing 
emphasis, may be found in this : — From the ordinary habit 
of the voice in the simple concrete, it is difficult to produce 
a final fulness and force, without giving rapidity of time to 
the execution : and this adapts it to the active sentiment, 
which the vanishing stress is employed to represent. 



Of the Compound Emphasis. 

A degree of emphatic distinction by stress, stronger than 
that of any of the preceding modes, may be applied to sylla- 
bles of indefinite time; for these, under the direction of ve- 
hement feeling, may receive their force from both the radical 
and vanishing stress : as in the following urgent call. 

Arm warriors arm for fight, the foe at hand, 
Whom fled we thought, will save us long pursuit 
This day. 

The imperative words here marked in italics, require the 
use of this double form of stress, either on a wide downward 
interval, or on an unequal direct wave, with a wide down- 
ward constituent. It is however more particularly appro- 
priate to the forcible expression of interrogative sentiments. 
The reason of this is given in the thirty-seventh section ; and 
42 



330 THE THOROUGH EMPHASIS. 

I here cite an example, from the scene of Hamlet's violence 
towards Laertes, at the grave of Ophelia. 

Dost thou come here to whine ? 

To outface me by leaping in her grave 1 

The intense spirit of these questions call for the Thorough 
interrogative intonation ; and the emphatic importance of 
the word whine, requires the rising octave with the com- 
pound stress upon it. For thus the radical abruptness on i 
sets forth the threatening rage of the prince, whilst the 
vanishing stress on n conspicuously denotes the inquiry, by 
marking the extent of the interrogative interval. 

This is not the place to speak of the aspiration which may 
be joined with the compound stress, for the expression of 
that contempt or scorn which the question may contain. 

On the whole, I confess that the discrimination of this 
mode of emphasis, in the current of pronunciation, is not so 
easy, as that of the preceding. Still it does exist as a 
mode of force. Its effect is peculiar to itself: and by de- 
liberate analysis it is clearly resolvable into the above named 
constituents. 



Of the Thorough Emphasis. 

In detailing the assignable forms of force, I gave those of 
the Thorough stress, and the Loud concrete, as distinguish- 
able from the rest and from each other. 

But I do not feel disposed to insist upon the importance of 
these distinctions, for the practical purposes of elocution. 
They exist however, and exert their influence upon the ear, 
and understanding. Yet they are not either in nature or 
degree so distinguishable from the radical and the compound 
stress, and from each other, as to require the special ex- 
emplification which has been made of those other forms. 
Any peculiarity which may be found in the two functions 
under consideration, is relative to the time of syllables: 



THE ASPIRATED EMPHASIS. 331 

for when a syllable is not so short as to require the emphasis 
of the radical stress, nor of sufficient length to admit of the 
protracted modes of force, the required distinction may be 
effected by the loud concrete : as in the marked syllable 
below. 

This knows my Punisher : therefore as far 
From granting he, as I from begging peace. 



Of the Aspirated Emphasis. 

In the section on aspiration, one of the expressive effects 
of that function, was shown in the earnestness that it spread 
over a whole sentence to which it was applied. But the 
same expression is sometimes carried in a single word ; thus 
constituting the aspirated emphasis. Many words claim 
this emphasis from the essential energy of their meaning ; 
and these, in some cases have the literal symbol of aspiration, 
as havoc, horror, huzza. A similar remark may be made 
with regard to some of the interjections. I need not quote 
instances of aspirated utterance in the exclamations of pas- 
sion, nor in the pure breathing of a sigh : the pages of the 
drama are full of examples. 

In the following dialogue from Julius Ccesar, the effect of 
aspiration, in marking an earnest sentiment, is sufficiently 
obvious, on the word fear, which is set in italics. 

Brutus. What means this shouting 1 I do fear the people 

Choose Caesar for their king. 
Cassius. Ay, do you fear it 1 

Then must I think you would not have it so. 

And again, in the Tent scene, the earnest repugnance of 
Cassius is manifested in the aspiration of the word chastise- 
ment. 

Brutus. The name of Cassius honors this corruption, 

And chastisement does therefore hide his head. 
Cassius. Chastisement ! 



332 THE EMPHATIC VOCULE. 

When aspiration is combined with the vanishing stress 
on a simple concrete, or on any of the forms of the wave, it 
communicates an expression of sneer, or contempt, or scorn. 

The aspiration may be applied to syllables of every va- 
riety of time ; to all the modes of force ; and to all intervals 
of intonation. 



Of the Emphatic Vocule. 

When an emphatic word terminates with an abrupt ele- 
ment, and is followed by a pause, that slight issue of sound 
which we have called the Vocule, generally receives a con- 
tinuation of force from the emphatic word : and this, by its 
extraordinary increase becomes the mark of high vocal ex- 
citement. 

There are some occasions on which this vocule may be 
used with a view to press into a syllable all the power of 
emphasis. But it comes so close to affectation, that I hesi- 
tated about its classification, as a fault, or an assistant en- 
forcement of speech. 

I will not say absolutely, it should be heard in the follow- 
ing lines, from the close of the third scene, in the third act 
of Othello. But if the word hate be pronounced with the 
force required by the sentiments of the Moor, the emphatic 
vocule will be very apt to follow the organic opening of the 
atonic abrupt element. 

Yield up, O love, thy crown, and hearted throne 
To tyrannous hate 1 swell, bosom, with thy fraught. 



Of the Guttural Emphasis. 

The sentiments of disgust, aversion, execration, and horror, 
give their expression to an emphatic word, by joining the 
guttural vibration to other modes of distinction. It is most 
frequent on the daily occasions for revolting interjectives ; 



THE TEMPORAL EMPHASIS. 333 

but is sometimes found engrafted on the common current of 
syllabic utterance. It might be properly used on the word 
detestable, in the following lines, from that dreadful male- 
diction upon Athens, at the opening of the fourth act of 
Shakspeare's Timon : taking care to accent the second sylla- 
ble, which does not bear a stress, in the measure of the 
line. 

Nothing I'll bear from thee 
But nakedness, thou detestable town ! 

When this guttural vibration is compounded with the 
highest powers of stress and aspiration, it produces the 
most impulsive blast of speech. 



Of the Temporal Emphasis. 

When the quantity jf an emphatic syllable is long, and 
admits of indefinite extension ; when the word conveys 
merely a discriminative meaning, without any peculiar sen- 
timent or passion ; or when the distinction has the sole 
purpose of an emphatic tie, the impression may be made by 
the influence of time alone, as in the following address: 

Hail holy Light, offspring of Heaven first-born, 
Or of the Eternal, coeternal beam, 
May I express thee unblamed 1 * 

Or more conspicuously, in Abdiel's warning to Satan. 

For soon expect to feel 
His Sunder on thy head, derouring fire. 
Then, who created thee lamenting learn, 
When who can uncreate thee thou shalt know. 

In this example, the long quantities of the accented syl- 
lable of thunder, and devouring, are given as instances of 
the emphatic tie ; by which the apposition of two subjects, 
notwithstanding the intervening clause, is shown in its true 



334 THE TEMPORAL EMPHASIS. 

syntax by the voice. Perhaps it may be said, that these 
words, as well as the others which are set in italics as 
examples of antithesis, to be expressed by quantity alone, 
might receive the additional distinction of a forceful or an 
intonated mode of emphasis. But it may be learned from 
the speeeh, at large, that Abdiel is no longer the ' fervent 
angel' contending with the apostate. He is now the herald 
of the decrees of the Almighty. The warm spirit, the 
hopes, and the fears of argument, have given place to 
grave admonitions, and to the solemn declarations of an 
ordained judgment ; and the mode of unimpassioned but 
conspicuous distinction by temporal emphasis, appears well 
accommodated to the utterance of the ' unmoved, unshaken, 
unseduced, unterrified,' and prophetic Seraph. 

The reader must have seen how closely connected the 
various accidents of speech are ; and that however wishfully 
the attempt is made to bring them down to the state of 
single constituents, it is impossible to represent each sepa- 
rately in the necessary illustrations. We here speak of the 
simple extension of quantity as the means of emphasis, 
when in reality that quantity is effectual, as an attractive 
agent even in its plainest form, through the influence of one 
of the formerly described modes of intonation. It must 
therefore be taken into the account of the temporal emphasis, 
that, — though the protraction of syllables may be made in 
the simple rise or fall of an interval, still the common form of 
long quantity is that of a direct or inverted wave. When 
the time is extended on interrogative syllables ; or on those 
which carry positiveness or command ; or which form a 
monad cadence, — the intonation is drawn, respectively 
through the simple course of the upward or downward 
third, or fifth, or eight. But in the plain emphasis of time, 
such as that employed in the above examples, and such 
generally as may be used in the diatonic melody, which 
admits of no peculiar expression, except that of serious dig- 
nity, — the extension of the indefinite syllable is always made 
by the direct or inverted wave of the second. 



THE EMPHASIS OF PITCH. > 335 



Of the Emphasis of Pitch- 

It was stated generally in speaking of the pitch of the 
voice, that the several intervals of the scale are used as the 
means of emphasis. We should now proceed to the illustra- 
tion of this subject: but as the rising third, fifth, and octave, 
were said to be the symbols of interrogation, and as they 
have this signification even when applied to but one word of 
a sentence, it certainly becomes a matter of inquiry, — how 
the interrogative characteristic in discourse is to be distin- 
guished from the emphatic. There must be even to the 
common ear, something like an unwritten rule to which 
reference is unconsciously made ; for notwithstanding, the 
frequent employment of these symbols in their different 
meanings, these meanings are rarely confounded. But our 
discriminations of this matter have, in time past, been but 
four-footed instincts ; let us try to ennoble them, by giving 
them the support and the exalted step of principles. 

The various modes of constructing interrogative sentences 
were described in the sixteenth section. 

As the emphatic employment of the intervals of pitch is 
on a single word, or at most on two or three, there is no 
liability to mistake cases of emphasis, for those of declara- 
tive and earnest interrogation, which always bear the tho- 
rough intonation. It was shown formerly that the partial 
expression is never applied except to questions made by the 
pronoun or adverb, or by the inverted nominative : there- 
fore, questions of this sort, even when intonated by a solita- 
ry third, or fifth, or octave, are not liable to be confounded 
with cases of emphasis formed upon these same intervals, in 
sentences which have not the above described grammatical 
construction. Whether it might be proper to consider the 
case of partial interrogation, when made with a single inter- 
rogative interval, as conjoining the conditions of interroga- 
tion and of emphasis, and thereby justifying the term inter- 



336 THE EMPHASIS OP PITCH. 

rogative emphasis, may be left for future inquiry and arrange- 
ment. 

Many phrases which have the form of a question, seem 
nevertheless to hang doubtfully between an interrogative 
and an assertive meaning. When such phrases can be fairly 
resolved into an interjective appeal, or into that assurance in 
argument, which dictates a negative interrogatory, the posi- 
tive temper of the sentiment generally calls for an intonation 
in the downward concrete, as was shown in the thirty-first 
section. The following passages are by editorial punctua- 
tion, marked with the interrogative sign. Whereas the above 
named conditions seem to apply so clearly here, that I would 
exclude the interrogative intervals, and designate these vir- 
tual affirmations by the positiveness of a downward intona- 
tion. 

What should be in that Caesar 7 
Why should that name be sounded more than yours 1 



Casca. What night is this 1 

Cassius. A very pleasing night to honest men. 
Casca. Who ever knew the heavens menace so 1 



Shylock, Ay, his breast : 

So says the bond ! Doth it not noble judge 1 
Nearest his heart, those are the very words. 

In the first of these instances, Cassius does positively 
mean, that — there is nothing in that Caesar, nor in his name. 
In the second, Casca would say, — it is a dreadful night ; and 
the heavens were never known to menace so. And in the 
last, Shylock means, — you know it, noble judge. If there- 
fore the interrogative intonation should be applied either 
thoroughly or in part, to these phrases, the intended posi- 
tiveness of conviction, will not be reached in expression. 



EMPHASIS OF THE OCTAVE. 337 

Sentences of this sort call for the grammatical note of ex- 
clamation. 

When exclamatory sentences carry their expression on 
one or two downward intervals, it may be made a subject 
for future inquiry, — whether this case might be designated 
by the term exclamatory emphasis. 

We go on now to the enumeration of the intervals of 
pitch, which serve the purpose of emphasis. 



Of the Emphasis of the Octave* 

If the concrete rise of the Octave should be set on a sin- 
gle syllable of a current diatonic melody, it will, by the 
peculiarity of its sound, conspicuously distinguish that syl- 
lable from others, formed on the interval of a tone ; and 
will thus be brought within the meaning of the term em- 
phasis, even though it should not receive any excess of 
force. 

The reader may remember what was said on the subject 
of the intervals of the scale being appreciable, even in the 
momentary flight of an immutable syllable. But it has been 
shown likewise, that such short syllables generally take on 
the expression of the octave, by a skip of radical pitch, from 
the level of current speech to the height of that interval 
above it. The emphasis of the octave appears therefore, 
under the form both of the slow concrete, and of the change 
of radical pitch ; and it may be well to have it understood 
here, that the same varieties exist in the emphasis of the 
other wider intervals of the scale. 

The octave is employed emphatically, for the expression 
of those cases of astonishment and admiration, which em- 
brace a sentiment of inquiry or doubt ; and for the special 
enforcing of one word above others, in an interrogative 
sentence : but this indeed rarely ; for there is a kind of mew 
in its long-drawn ascent, that excludes it from those elevated 
43 



338 EMPHASIS OF THE OCTAVE. 

purposes of speech which it is the design of science to investi- 
gate, and of taste to approve. 

The octave, it was remarked formerly, carries the spirit of 
a quick, a taunting, or a mirthful interrogative ; and is per- 
haps never used in a calm, serious, and dignified question. 
It would be admissible in the following sneering exultation 
of Shy lock over Antonio. 



Monies is your suit. 
What should I say to you 1 should I not say 1 
Hath a dog money 1 Is it possible 
A cur can lend three thousand ducats ? 



Every word of the two last questions will bear an interro- 
gative intonation : but the terms dog and cur being em- 
phatic allusions to the previous rating of Shylock by Antonio, 
they carry a revengeful triumph, and an immediate antithe- 
sis to their former purpose, by being run up to the piercing 
treble of the octave. Perhaps some readers might be dis- 
posed to set a more dignified mode of intonation on these 
questions ; by considering them as Appealing questions, and 
by employing a general current of downward thirds, with a 
downward octave on the words dog and cur. I only say 
they will bear what is here given, without making prefer- 
ence the subject of discussion. The readings proposed 
throughout this essay are for illustration, and their design is 
fulfiled, whether or not they exactly accord with common 
opinion. There is a best in the works of every art: but the 
latitude of variation, within the pale of principles, has an 
ample and liberal scope, which sometimes will admit even 
cases of unsuccessful search after excellence. Over such 
failures the intelligent critic will be neither quarrelsome nor 
severe. 

The emphasis of the octave, when formed by a change of 
radical pitch is exemplified in the following lines. 

'Zounds, show me what thou'lt do : 

Woot weep ? woot Jlght ? woot fast ? woot tear thyself"? 



EMPHASIS OF THE FIFTH. v 339 

The exasperated energy of Hamlet, in his encounter with 
Laertes, calls for the highest pitch of interrogation on the 
words here marked ; but the correct pronunciation of these 
words does not admit of the slow concrete. To fulfil the 
purposes of expression, they are to be immediately trans- 
ferred by radical change to an octave above the word woot, 
which is set in its several places, at the common level of the 
voice. The emphatic syllable, when thus raised, is still 
further endowed with the character of the interrogative 
interval, by a rapid flight through the concrete octave, 
agreeably to the account given of this process in a former 
section. In short, the first seven words of the second line 
do really skip, alternately ascending and descending, between 
the extremes of an octave. 

Whilst these lines are before us, we may notice the con- 
trast between the two modes of pitch in the octave : for the 
word tear, having an indefinite quantity, admits freely of 
the protracted concrete ; and the voice, after being restrained 
to the discrete movement, on the preceding immutable syl- 
lables, assumes on this word the intonation of a continuous 
rise. 



Of the E?nphasis of the Fifth. 

The relation which the interval of the concrete fifth bears 
to that of the octave, was shown formerly, as regards its 
interrogative character. As a symbol of emphatic sense or 
passion, the fifth is less attractive to the ear than the octave : 
for it has not the piercing influence which belongs to the 
latter interval. There is however, more dignity in the im- 
portance which it gives to a syllable. In the following lines 
from Satan's address to the sun, the emphasis on thee, may 
be made by the concrete fifth. 

Evil be thou my good : by thee, at least 
Divided empire with Heaven's king I hold. 



340 EMPHASIS OF THE THIRD. 

I have said here, and there should be the same latitude 
for other cases, that a certain symbol of emphasis may be 
employed : since on many occasions, the means of emphasis 
may be varied. Thus in the present example, the syllable 
thee, might be made in the wave of the fifth, or the third, or 
even the second ; but under this last substitution, the want 
of that eminence which is given by the rise of the fifth, must 
be supplied by a long quantity, and by the use of the radical, 
or median, or vanishing stress, on the wave of the second so 
employed. 

In the following lines, the emphasis of the fifth on the 
word beauty is perhaps not absolutely unchangeable to any 
other mode : but it certainly produces a brightness of pic- 
ture, which seems best suited to the sentiment, and which 
cannot perhaps be so well effected in any other way. 

Tears like the rain-drops may fall without measure, 
But rapture and beauty they cannot recall. 

The effect in this case will be more finished, if after the 
concrete rise of the syllable beau through the fifth, ty be 
carefully brought down to the pitch of the current melody. 

The emphasis of the fifth, by a skip of radical pitch, is 
well exemplified in that line which was quoted to show the 
radical stress. 

Which, if not victory, is yet revenge. 

Here the force required on the word victory claims all 
the assistance which intonation can add to its abrupt stress : 
and this is given by setting the short syllable vie at a dis- 
crete fifth above the place of not. 



Of the Emphasis of the Third. 

The striking intonation of the octave and of the fifth is 
suited to the earnest spirit of colloquial utterance, and to 



EMPHASIS OF THE THIRD. 341 

the forcible sentiments of the drama. The rise of the voice 
through the third, though still denoting both interrogation 
and emphasis, produces a less intense, but a more dignified 
impression on the ear, in the purposes of its application. 

The rise of the third may be set on the word he, in the 
following lines. 

Who first seduced them to that foul revolt 1 
The infernal Serpent; he it was, whose guile 
Stirred up with envy and revenge — 

There are some phrases simply interrogative ; which con- 
vey none of those other sentiments formerly ascribed to the 
octave and the fifth. The emphatic distinction in these 
cases, is made with the moderately attractive influence of 
the third. 

Dost thou think Alexander looked o' this fashion, 
i' the earth? 

If, in this example Alexander, this fashion, and earth, be 
taken as emphatic, the distinction will be appropriately made 
by the third. Should the intonation on these words be in 
the wider interval of the fifth or octave, it would imply 
an eagerness of inquiry, and a light familiarity of address, 
not suggested by the sense of the question, nor consistent 
with the temper of Hamlet's moralizing reflections. 

It is scarcely necessary to illustrate the radical skip of the 
third in relation to emphasis. The word victory, given in a 
preceding example, may be executed in this discrete in- 
terval, if the reader should think the fifth, which is there 
used, too high: for it will exemplify either case, according to 
the degree of energy ascribed to it. 

It was shown in the fifteenth section, that the third is em- 
ployed on the emphatic words of conditional, concessive, and 
hypothetical phrases. 

I have said that the minor third has a plaintiveness, not 
unlike the effect of the semitone. It is not indeed more im- 



342 EMPHASIS OF THE SEMITONE. 

pressive on the ear, in all the purposes of speech, than this 
last named interval; but it is peculiar, and has perhaps more 
of the whine or cry in it. It may therefore be used for em- 
phasis in the course of a chromatic melody, whenever a 
word or phrase contains a sentiment that carries the plain- 
tive feeling to the point of tears. 



Of the Emphasis of the Semitone, 

I omit here, allotting a head to the subject of the tone or 
second. The reader must by this time be so well acquainted 
with the construction of the diatonic melody, as to admit, 
that if the second is the common form of the concrete, in all 
discourse which carries no important or peculiar expression, 
the simple rise through that interval cannot, as far as regards 
pitch, be emphatic. Indeed the other intervals owe their 
attractive power to their contrast with this general current 
of the simple second. It is true, a syllable is made emphatic 
by quantity ; and that quantity in plain and dignified utter- 
ance is commonly a prolongation through the doubling of the 
second into the form of a wave. But the impressiveness is 
here an agency of time, not of intonation. 

As the semitone has a peculiar expression, it can fulfil the 
condition of emphasis, when laid upon a single word in the 
course of a diatonic melody. It rarely happens however 
that this expression is found thus insulated : for if a plain- 
tive sentiment issues from one word, it generally spreads its 
effect over the whole of the phrase or sentence ; thus consti- 
tuting the chromatic melody, and thereby destroying the 
solitary importance of the semitone. 

But it may then be asked, — how the purposes of emphasis 
can be effected in a chromatic melody. It may be, by stress 
in its various forms ; and by time, for the semitone is set on 
syllables of all quantities. It may likewise be effected by 
intonation, in the following manner. 



EMPHASIS OF THE DOWNWARD CONCRETE. 343 

When a syllable calls for the emphasis of pitch in a chro- 
matic melody, that emphasis cannot be a simple concrete 
rise through the second, third, fifth, or eighth : for these move- 
ments would destroy the plaintiveness, which by the condi- 
tions of the case ought to exist. But should a syllable of 
the chromatic melody be elevated by a discrete radical 
change, from the level of the current, to a third, fifth, or oc- 
tave above it ; and when thus raised, be there uttered, how- 
ever rapidly, through the interval of a semitone, it is evident 
that the plaintive or chromatic character must be preserved : 
and since the syllable, by a transfer of the radical pitch, is 
advanced to a higher point of the scale, it is by the addi- 
tional means of acuteness, conspicuously impressed on the 
ear, and thus fully answers to the definition of emphasis. 



Of the Emphasis of the Downward Concrete, 

It has been shown that the downward movement of the 
voice, expresses positiveness and surprise, and that it pro- 
duces one of the forms of the cadence on a single long sylla- 
ble. But we are now to consider the mode of applying this 
concrete, for the purpose of emphasis, in the course of a cur- 
rent melody. 

The wider downward concrete, as a mode of emphatic 
distinction, exerts a powerful attraction over the ear. It 
cannot however be applied to sentences of thorough interro- 
gative intonation : nor is it in its simple forms used in the 
chromatic melody. When necessary in this latter case, for 
denoting surprise or positiveness, it may be introduced as a 
constituent of the unequal wave : for the rise of the semi- 
tone as the first constituent, will preserve the character of 
the chromatic melody ; and a subsequent continuation down- 
wards through the eighth, or fifth, or third, will join to this 
melody the peculiar expression of the falling concretes. 



344 EMPHASIS OP THE DOWNWARD CONCRETE. 

When I had occasion, in its proper place, to speak of the 
descent of the voice, both by concrete and by radical pitch, 
that descent was not otherwise represented, than as if it took 
place from the line of the current melody. It is now ne- 
cessary to show a different mode of its movement. In the 
twenty-first section, however, a notation is given of the fol- 
lowing line ; — 

Seems, madam, nay, it is ! I know not seems : — 

in which one of its emphatic syllables is marked with a 
downward fifth : the concrete appearing on the staff, with 
its radical the whole extent of that interval above the cur- 
rent melody. I then merely pointed out this peculiarity : 
for as we were taking a physiological view of the down- 
ward concrete, I did not wish to anticipate the history of 
this part of emphasis. 

Now, should is in the above line be uttered as a feeble 
cadence ; that is, should the descent of a third from the 
line of the current melody, be made on this word, as if it 
were the close of a sentence, it will not have that emphatic 
force, which is required by the sense. It cannot be, then, 
the simple descent of the voice from the line of the current 
melody, which gives impressive character to this form of 
emphasis. 

The full effect of the downward concrete, as an empha- 
tic symbol, is produced by commencing its radical, on a 
line of pitch above the current melody, and descending to 
that line or below it, according to the degree of expression. 
The height at which the outset or radical of the descend- 
ing concrete is to be taken, depends on the degree of 
positiveness or surprise contemplated in the emphasis. That 
the expressive effects of the downward concrete proceed 
from its affinity to the nature of the cadence, I will not 
assert. It would seem however that there is something like 
an ultimate affirmation, in a very positive emphasis ; it being 
as much as to say, — this affirmation is beyond doubt, then 
let the subject here be closed. 



EMPHASIS OF THE DOWNWARD OCTAVE. 345 

It may perhaps be asked, — why the downward vanish, 
emphatically used in the current melody, does not produce 
the effect of a cadence, and thus intersect the sense of 
discourse. It is to be recollected that the feeblest form of 
the cadence consists in the concrete descent through the 
third, consequently the downward emphasis can at most 
amount but to this feeble form. And it is to be also borne 
in mind, that the proper cadence is continued downward 
from the line of the current melody : whereas the emphatic 
downward concrete, begins at a point of pitch much above 
the line of the melody, and does not always descend below it. 



Of the Emphasis of the Downward Octave, 

After what has been said generally of the downward 
emphasis, it is scarcely necessary to state that the octave, 
when set on a long syllable, gives the highest degree of 
this species of emphasis. The word hell in the following 
lines requires the octave. 

So frown'd the mighty combatants, that Hell 
Grew darker at their frown. 

This is taken from the fine description of the threatful 
hostility between Satan and Death, in the second book of 
Paradise Lost. And whoever would give this part with 
a forcible and somewhat dramatic effect, will find it im- 
possible to bring out the full sense of the poet, except by 
the above directed intonation. The meaning of the author, 
if we may interpret it, is not to represent simply, without 
marking its degree, an increase of darkness produced by 
the figurative gloom of the brows of the combatants. Such 
a picture would be too tame and trite for this dreadful 
edge of battle. The thought becomes worthy of the occasion, 
when the frowns, are said to be able to blacken the deep 
darkness even of Hell. 

44 



346 EMPHASIS OF THE DOWNWARD OCTAVE. 

The above forcible intonation exhibits the effect of the con- 
crete pitch of the downward octave. But the transition for 
the purpose of emphasis is made on immutable syllables, by a 
change of radical pitch from an assumed point above the 
current melody. The following passage from the second 
book of Milton, may serve for illustration : 

Far less abhorr'd than these 
Vex'd Scylla, bathing in the sea that parts 
Calabria from the hoarse Trinacrian shore. 

I know not how others might attempt to make out the 
picture of this first line: but I can in no way satisfy my car 
with it, except by a concrete rise through the octave on 
far ; by giving less at the top of that interval, and then 
descending by the discrete skip of an octave in radical pitch 
to ah ; thus returning to the level of the radical of far, on 
the line of the current melody. It is not the place, but I may 
here say, that horr'd is to be executed in the concrete down- 
ward emphasis of the octave. 

A similar intonation is appropriate to the passage which 
follows in the text of the poem. 

Nor uglier follow the night-hag. 

Here, nor rises by a concrete octave ; ug is given at the 
top of that interval ; and li descends by the discrete change 
of an octave, to the level of nor in the current melody. 

In these examples, nothing is said of the modes of stress or 
of the aspiration, which might be necessary for the full vocal 
display of these passages. We here only regard the down- 
ward movement. 

If it be asked, — why the descent by the radical pitch has 
not the effect of the cadencial close ; it may be answered, — 
that it does indeed approximate towards the nature of a ca- 
dence : but it is still an imperfect one, and not sufficient for 
a full termination of discourse. For the descent is from a 
point assumed above the current line, and the downward 



EMPHASIS OF THE DOWNWARD FIFTH. 347 

reach is to about the level of that line : whereas the true and 
final cadence is made by a descent of three tones below that 
line. 



Of the Emphasis of the Downward Fifth. 

The similarity of this interval to that of the octave last 
named, the difference consisting in degree only, renders it 
unnecessary to do more, than quote a phrase in which the 
less energetic emphasis of the downward fifth may be em- 
ployed. The word courageous, in the following extract 
from the dramatic contention between Gabriel and Satan, at 
the close of the fourth book of Paradise Lost, bears this 
downward fifth on its accented syllable. 

Courageous chief ! 
The first in flight from pain ! 

The radical change of the downward fifth may be made 
on the word subject, in the following lines, from the first act 
of Julius C&sar. In the second scene, after Cassius has 
brought out from Brutus a proud declaration of his love of 
honor, he says, 

1 know that virtue to be in you, Brutus, 
As well as I do know your outward favor. 
Well, honor is the subject of my story. 

Now, supposing this to be the proper place for the empha- 
sis, the sentiment here conveyed, that this honor is the very 
matter he desires to speak of, is to be expressed by a down- 
ward intonation on the word subject : But the accented syl- 
lable of this word is too short to bear the concrete. The 
expression is therefore to be accomplished through a discrete 
descent, by assuming the first syllable sub, at a fifth above 
the current melody, and returning to the line of that melody, 
on ject, by the radical skip of a fifth. Some other form of 



348 EMPHASIS OP THE DOWNWARD THIRD. 

emphasis on this word may, in a manner, show the sense 
which is here ascribed to the declaration. But I am very- 
confident, that to an ear of judgment and taste, none will give 
that bright picture of the sense, which may be effected by 
the proposed mode of intonation. 



Of the Emphasis of the Downward Third. 

The downward Third expresses a more moderate degree 
of the same sense and sentiment, which are conveyed by the 
preceding intervals of the octave and fifth. Thus in the fol- 
lowing reply of Hamlet, the word Queen does not seem to 
require a stronger emphatic distinction than is made by a 
falling third. 

Queen. Have you forgot me 1 

Ham. No, by the rood, not so : 

You are the Queen, your husband's brother's wife. 

And here we may take occasion to refer to the difference 
between the effect of the downward third, when employed as 
the means of emphasis, and as a feeble cadence. For if the 
word Queen merely descends concretely, from the line of 
the current melody to a third below it, the sentence may 
pass for a complete one, terminated at that point by a feeble 
cadence; but if the radical of this syllable be raised to a third 
above the current melody, and then brought down to it, in 
the manner of emphasis, even a subsequent pause will not 
produce the like effect of a close. 

The emphasis of the downward third by change of radi- 
cal skip, may be made by a transition from that to too, in 
the following phrase. 

Cassius. They shouted thrice ; what was the last cry for 1 
Casca. Why, for that too. 

Here the word that is to be raised above the line of the 
current melody. 



EMPHASIS OF THE WAVE. 349 

It was said formerly, that the Prepared cadence is pro- 
duced by the downward radical change of a third, preced- 
ing the triad. Now, although in this case the voice falls to 
a third below the line of the current melody, still this des- 
cent alone does not produce a cadence. For the lowest 
constituent of this discrete third, does not end with the fee- 
ble downward tone required at a close, but with an upward 
vanish, similar to the rest of the melody. And it will be re- 
collected that this downward skip through a third, was called 
a false cadence, from its not having the characteristic of a 
full and perfect close. This downward radical skip of the 
prepared cadence, has all the effect of emphasis, by forcibly 
impressing on the ear the most complete termination of the 
sentence. 

The downward Minor Third may be used for emphasis, 
under the same circumstances that admit the rising form of 
this interval. I perceive no difference in the effect, except 
perhaps that there is more gravity in the downward move- 
ment. 

The downward Second being a constituent of the diatonic 
melody, has no emphatic power. It serves to give variety 
to the current, by occasionally taking the place of the rising 
concrete. When given to the last constituent of a down- 
ward tritone, it makes the triad of the cadence. 

The downward Semitone has peculiarity sufficient to mark 
a strong emphatic distinction : but I am not aware of its 
being ever introduced, in a solitary manner, into the diatonic 
melody: and in the chromatic it merely serves the purpose 
of variety, similar to that of the downward second in the 
diatonic current. 



Of the Emphasis of the Wave, 

The junction of opposite concretes produces a positive 
effect upon the ear, which gives emphatic distinction to the 
words on which it is applied. 



350 EMPHASIS OF THE WAVE. 

If one were to give a history of the voice, from the prac- 
tice of the mass of readers, and not from cultivated and rare 
examples of excellence, it would be necessary to add a Melo- 
dy of the Wave, to that of the diatonic and chromatic, for- 
merly described : since there are many who apply the wider 
species of this form of intonation, to every long and emphatic 
syllable. This, to say the least of it, by giving the impres- 
sive effect of the wave to a whole sentence, prevents its em- 
ployment as the means of emphasis on a single word. 

The wave expresses, according to its forms, admiration, 
surprise, interrogation, mirthful wonder, sneer and scorn : 
and is emphatically used on long quantities which embrace 
these sentiments. 

The dignified diatonic melody is made, as we have shown, 
by the wave of the second : but this is only a method of add- 
ing the gravity of the downward second, to the lighter effect 
of the ascent of that interval ; and of producing at the same 
time that length in syllables which is essential to solemn ut- 
terance, without incurring the risk of falling into the pro- 
tracted notes of song. This wave of the second therefore, 
never performs the part of emphasis, by its intonation. The 
waves of wider intervals serve also the purpose of giving 
time and dignity to utterance, by doubling the concretes of 
which they are respectively composed. But they have a 
striking peculiarity when heard in the diatonic melody : giv- 
ing thereby to the words which bear them, an emphatic dis- 
tinction. 

When the sentiment of scorn occurs in dignified discourse, 
it is denoted by the vanishing stress, or by aspiration, joined 
with either the simple rise or fall of a wider concrete, or 
with the direct or inverted form of its single wave. For 
there is a degree of levity and familiarity in the double wave, 
which is unsuitable to the kind of discourse from which we 
are here excluding it. 

In considering the emphasis of the wave, it is not my in- 
tention to illustrate all its forms. If the reader has been 
careful to follow me in the analysis of this expressive sign, he 



EMPHASIS OF THE EGLUAL WAVE. 351 

will be able to do this for himself: and there are too many 
varieties of the wave to justify an entire enumeration of them. 
I shall name a few species. 



Of the Emphasis of the Equal-single Wave of the Octave, 

The Equal single wave of the octave actively expresses 
admiration and surprise; and when heightened by aspi- 
ration, the vanishing stress, or guttural vibration, it has the 
additional meaning of sneer and scorn. There is a differ- 
ence in the effect of this symbol, according as it is made 
on a low or a high pitch of the voice. In the latter case, it 
has more of the character of raillery or of mirthful com- 
ment than of canting contempt. 

It was said that the wave of the octave, if restricted to 
the lower range of pitch, might be used in grave discourse. 
Under this view, the first syllable of the following well-known 
line, might receive the emphasis of this expressive symbol. 

Angels and ministers of grace defend us! 

This exclamation embraces the sentiment of astonishment, 
and the purpose of invocation. Now the positiveness of 
invocation requires the downward movement ; whilst as- 
tonishment, which in this case, implies something of inquiry 
or doubt, assumes the upward movement. But the invo- 
cation appears to be the engrossing interest : therefore the in- 
tonation of the syllable An, would take the form of the di- 
rect wave of the octave ; which by its rise marks the doubt- 
ful astonishment, and by its subsequent fall, gives the 
final and more powerful impression of the invocation. 

When the single-equal wave of the octave is inverted, the 
emphasis has the character of interrogation, from the ascent 
of the last constituent. 



352 EMPHASIS OF THE EGIUAL WAVE. 

Of the Emphasis of the Equal-single Wave of the Fifth. 

The form of the wave carries a degree of admiration, but 
less than that of the octave : as in the following example from 
the contest between Satan and Death. 

And breath'st defiance here and scorn, 
Where I reign king 1 and to enrage thee more, 
Thy king and lord 1 

Whoever will read the whole passage from which these 
lines are taken, with the dramatic power which its compo- 
sition justifies, will find he may set the wave, now under 
consideration, on the syllable thy, as a full expression of 
the positiveness, vaunting authority and self-admiration of 
Death. 

In order to show the difference in character between, 
this direct wave, and its inverted form, let the latter be 
substituted in the above reading. The interrogative effect 
produced by the ascent of its last constituent, will not only 
obscure the soul of the poet, but absolutely cross out his 
sense; for it will make Death ask a question, when he in- 
tends to be unanswerably affirmative. 

We need not consume time by giving an example of the 
wave of the Third in its equal-single form. If we suppose 
an abatement in the degree of expression, all that was said of 
the character of the wave of the fifth, may be affirmed of it. 
It is more commonly employed than the fifth. 

Nor need much be said of the emphasis of the direct and 
the inverted wave of the Minor third ; since it is employ- 
ed for a purpose similar to that of its upward and downward 
constituents. It is however, more expressive, and has a 
longer quantity. 



Of the Emphasis of the Unequal-single PPave. 

It was said formerly, that the unequal wave is used as the 
symbol of admiration, surprise, or interrogation, according 



EMPHASIS OF THE UNEdUAL WAVE. 353 

as its course is direct or inverted. In the wide variation of 
the dimensions of its constituents, and in its junction with 
aspiration, or vanishing stress, or guttural vibration, it be- 
comes the most eminent mark of scorn. The last word of 
the following contemptuous retort of Coriolanus, on the 
Volcian general who had called him a ' boy of tears/ might 
perhaps be given as an instance of the ascent of a fifth, and 
the subsequent conjoined descent of an octave. 

False hound ! 
If you have writ your annals true, 'tis there 
That, like an eagle in a dove-cote, I 
Fluttered your Voices in Corioli; 
Alone I did it. — Boy ! 

It is not here the place, to speak of the strong aspiration, 
necessary to blow out the scornful feeling of the speaker. I 
have heard this syllable pronounced on the Stage, with 
the simple downward emphasis. But there is more cool 
wonder and self-satisfaction in this intonation, than belongs 
to the vexed pride of the Roman, and to his vehement retort of 
a charge of inconstancy, which he must have half acknow- 
ledged to himself. 

In the following lines, from the contention between Brutus 
and Cassius, the word yea may bear a direct-unequal wave, 
consisting of the rise of a tone or third, connected with the 
fall of a third or fifth. 

For from this day forth, 
I'll use you for my mirth, yea> for my laughter, 
When you are waspish. 

If this word be given without aspiration, or vanishing 
stress, or guttural vibration, the expression will not perhaps, 
differ much from that of the equal wave. The sneer must 
therefore depend on the union of some one of these last 
named functions with the simple utterance. 

The intonation of the italic word wrong, in the following 
line, may be taken as an example of the emphasis of an un- 
equal wave, the first constituent of which is a semitone, and 
45 



354 EMPHASIS OF THE TREMOR. 

the second a downward third, or fifth, according to the force 
required by the sentiment : 

You wrong me every way, you wrong me, Brutus. 

I have turned over the books within my reach, without 
being able to find a sentence for illustrating a case of the 
double wave. Serious and elevated discourse can have all its 
purposes of feeling and sense fulfilled without it: and it is 
not the design of this essay to point out to children and 
drolls, the scientific mode of derisively imitating the surprise 
of their neighbours, by the curling mockery of this vulgar 
intonation. 

There is little to be said about the Time of the concrete 
as a means of emphasis. The variations of its time are 
really perceptible by strict attention : but they are so closely 
united with the modes of stress, that the separate considera- 
tion of them would be an unnecessary refinement. 



Of the Emphasis of the Tremor. 

The tremor may be applied to a limited succession of 
syllables, and thus, in a manner, constitute a tremulous 
melody. But we have here to consider its occasional appli- 
cation to one or two words in the current of speech. 

When the tremor is made on a tonic element, in any inter- 
val except the semitone, it is the symbol of laughter : and 
consequently, in syllabic utterance, it joins to the sense of 
the words on which it is set, the expression of joy and exul- 
tation. 

Thou art the ruins of the noblest man, 
That ever lived in the tide of times. 

There is a sentiment of exultation, and a superlativeness 
of compliment in this eulogy, which cannot be properly ex- 
pressed by the smooth movement of the concrete. The first 
syllable of the emphatic word noblest, when uttered with 



EMPHASIS OF THE TREMOR. , 355 

the tremulous intonation of the wave of the third or second, 
gives, a vocal consummation to the feeling which prompts 
the exceeding measure of the praise. 

When the tremor is made on any tonic element, in the 
semitone, or in its waves, it constitutes the function of cry- 
ing. When employed in the syllabic intonation of the 
chromatic melody, it sets a more marked distinction on those 
emphatic words which express the sentiments of tenderness, 
grief, supplication, and other connatural states of feeling. 

The following passage is taken from a dramatic part of 
Paradise Lost, in the tenth book ; and if read with the per- 
sonal action of the dialogue, calls for the highest coloring of 
the semitone, and of the tremulous movement. 

Forsake me not thus, Adam ! witness, Heaven, 

What love sincere, and reverence in my heart 

I bear thee, and unweeting have offended, 

Unhappily deceived ! Thy suppliant 

I beg, and clasp thy knees ; bereave me not, 

Whereon I live, thy gentle looks, thy aid, 

Thy counsel in this uttermost distress, 

My only strength and stay. Forlorn of thee, 

Whither shall I betake me, where subsist 1 

While yet we live, scarce one short hour perhaps, 

Between us two let there be peace: both joining, 

As joined in injuries, one enmity 

Against a foe by doom express assigned us, 

That cruel serpent. On me exercise not 

Thy hatred for this misery befallen ; 

On me already lost, me than thyself 

More miserable ! Both have sinned ; but thou 

Against God only ; I against God and thee ; 

And to the place of judgment will return, 

There with my cries importune Heaven ; that all 

The sentence, from thy head removed, may light 

On me, sole cause to thee of all this wo ; 

Me, me only, just object of his ire ! 

By the lines that follow in the poem, Eve is said to have 
* ended weeping,' and her supplication, to have been accom- 
panied * with tears that ceased not flowing.' Now speech 
attended with tears always exhibits more or less tremor. 



356 RECAPITULATING VIEW OF EMPHASIS. 

Should the semitonic tremor however be applied throughout 
the whole of this passage, the effect would be monotonous, 
and the characteristic concrete of speech would be lost in the 
agitated voice of crying. The mingled efficacy of these 
functions may be appropriately shown, by using the tremor, 
only on judiciously selected emphatic words. It may be 
well to remark, that the above lines are not entirely subser- 
vient to the manner of delivery here suggested : for some of 
the syllables which carry the deepest feeling of contrition, 
have not sufficient quantity to allow the eminent intonation 
of the tremor. The word beg and the accented syllable of 
uttermost are of this nature ; for though they admit of the 
tremulous function to a certain degree, still their limited time 
does not fully satisfy the demands of sentiment for a free ex- 
tension of the voice. The words bereave, only, forlorn, thee, 
and more, through their indefinite quantity, give ample 
measure to intonation. On these then, and others which 
might be designated, the tremor may be effectually set, 
whilst the rest of the melody, not so marked, must have the 
smooth concrete of the semitone. 



A Recapitulating View of Emphasis. 

Upon a close consideration of the foregoing subject, it will 
be found difficult to draw a definite line of separation between 
words which are emphatic, and the common run of the melo- 
dy : in as much as some of the fainter cases of emphasis may 
scarcely differ from the simply accentual and temporal dis- 
tinction of syllables. 

To what case then, is the term emphasis to be applied 1 — 
Not to that of one syllable, which differs in any degree from 
another. For by this rule we may regard half the words 
of language as emphatic : since they are perpetually varying 
from others by slight degrees of force and quantity; and 
since some important forms of pitch, when not assisted by 
time and stress, are occasionally applied to syllable, without 



RECAPITULATING VIEW OF EMPHASIS. 357 

producing thereby any extraordinary distinction. There are, 
however, certain characteristics of vocal sound which un- 
erringly call the attention of an auditory. High powers of 
stress, extreme length in quantity, wide intervals of pitch, and 
any peculiar quality of voice, when set on certain words, may 
be considered as the constituents of emphasis. But at what 
point in the respective gradation of these powers, the empha- 
tic character begins, cannot be assigned, and perhaps need 
not be known. 

The subject of emphasis may be viewed under several as- 
pects : and they are here pointed out, with the design to 
contribute towards future philosophical inquiry on this 
question. Much time would be requisite for framing those 
general rules, which, in the prophecy of investigation, we 
here pronounce to be discoverable by industry and perseve- 
rance. And if enough has not been already said within 
this department, we leave it to be said by others. 

Emphasis has, in the preceding parts of this section, been 
regarded as expressive of certain sentiments and thoughts, 
through the agency of the several accidents of the voice. 

Emphasis may likewise be considered in reference to its 

general Purposes. These are : First, To raise one or 

more words above the level of the rest of the sentence, with- 
out regard to their special relationships or antithesis. Second- 
ly, To contrast certain words with each other, or to 

contradistinguish them. Thirdly, To supply an ellipsis, 

and thereby complete to the ear, that construction which is 

imperfect in grammar. Fourthly, To mark the syntax, 

in those cases where it might be doubtful without the assist- 
ance of emphasis. 

Another view of this subject might be grounded on an ana- 
lysis of the parts of speech. Thus, when an emphasis 

is laid on the article, it contradistinguishes a subject as defi- 
nite or indefinite, as singular or plural. When made on a 

noun, it may either express a direct opposition between some 
of the various accidents of this part of speech ; or it may 
raise one substantive-thought above the rest of the sentence, 



358 RECAPITULATING VIEW OF EMPHASIS. 

without the immediate suggestions of any special anti- 
thesis. On pronouns, its distinctions are relative to gen- 
der, number, case, and person ; or it may indicate, as on 

the article, the definite nature of a subject. On the verb, 

it may show the relationship of states of being, acting, 
and suffering, of time, and number; or, may distinguish 

without palpable antithesis. On the adverb, it may give 

the contradistinctions of time, place, negation, affirmation, 
and inference.- On the preposition, it may mark the anti- 
thesis of motion, position, and cause. On conjunctions, 

it may show the contrasts of conjunctive and disjunctive re- 
lations ; and of condition. On the interjection, emphasis 

serves only for unrelated distinction, without embracing an 
antithesis. 

On the whole, whatever is the meaning of any part of 
speech, emphasis may not only raise it into importance, and 
contradistinguish it from some other meaning, but may 
likewise be employed to supply an ellipsis, and to point out 
the syntax. 

It has been said, that every case of emphasis includes 

contrast. This does not seem to be true of emphatic inter- 
jections; at least the antithesis is not discernible. And with 
regard to the cases included under the detail of other 
parts of speech, there are many instances in which the 
contrast is not brought up before attention ; notwithstand- 
ing such antithesis may be included in the thought. 

It is not within the range of my design, to illustrate 
all the cases of emphasis which have been set forth in 
the above survey of species, suggested by the philosophy 
of the parts of speech. I here exemplify only the four 
general heads of the Purposes of emphasis, given above. 

First. The distinction of one word above others, without 
the striking perception of antithesis, is here shown. 

But see! the angry victor hath recall'd 
His ministers of vengeance and pursuit, 
Back to the gates of Heaven. 



RECAPITULATING VIEW OF EMPHASIS. 359 

The first phrase contains an interjective emphasis; but 
I cannot conceive with what see, is in contrast. Surely 
Satan in drawing the attention of the eyes of Beelzebub, 
did not mean to signify, that he should not otherwise perceive 
the recall of the pursuit : And to suppose see, to be in anti- 
thesis to his not having looked before, is a mere refinement. 
The case is the same with most interjections, whether they 
are properly the simple tonic elements, or with greater 
latitude, any of the several parts of speech. 

Secondly. The marked antithesis is exemplified in the 
following lines : 

I yielded, and from that time see 
How beauty is excelled by manly grace 
And wisdom, which alone is truly fair. 

This is the most frequent form of emphasis. 

Thirdly. The use of strong emphasis in an elliptical sen- 
tence is remarkable in the following instance, from the first 
book of Milton. 

Into what pit thou seest! 
From what height fall'n ! so much the stronger proved 
He with his thunder. 

Taking these lines as a complete construction, they are 
ungrammatical, and unintelligible. To one acquainted with 
the context, it is scarcely necessary to suggest that the 

poet meant to say, see to what a dreadful pit we are 

doomed, consider from what an immeasurable height we 
have been hurled, and learn thereby the degree of his supe- 
rior strength. Or thus, as far as the horrors and the 

depth of this pit are removed from the bliss and height 
of heaven, so far has the thunder of the Almighty surpassed 
the strength of our arms. Now, this full meaning can be 
clearly brought out from the elliptical phraseology of the 
poet, only by skilful emphatic intonation. If the word 
what, in its two places be given with an emphasis of the down- 



360 RECAPITULATING VIEW OF EMPHASIS. 

ward octave, forcibly aspirated, and with a loud concrete ; 
and if the succeeding words within the notes of admiration, 
be also intonated with downward vanishes, it will vocally 
denote an astonishment at the precipitation and at the doom, 
which is not fully conveyed by the words alone. And fur- 
ther, if a cadence and a pause be made at falVn, and if so 
much be strongly emphatic, the comparison of the degree 
of strength of the thunder to the measure of the height, 
will be strikingly apparent, and the whole sense and sen- 
timent will come upon the ear, with that laconic elo- 
quence, in which the admirers of the poet will be ready to 
believe — it was framed and condensed in his perfecting im- 
agination. 

Fourthly. When the structure of a sentence is so much 
involved, as to produce a momentary hesitation in an au- 
dience, about its concord or government, the syntax may 
be rendered perspicuous by means of emphasis, as in this 
example : 

He stood, and called 
His legions, Angel forms, who lay entranced 
Thick as Autumnal leaves that strow the brooks 
In Vallombrosa, where the Etrurian shades, 
High over-arched, imbower ; or scattered sedge 
Afloat, when with firce winds Orion armed 
Hath vexed the Red-sea coast. 

If this passage stood thus, Thick as autumnal leaves, in 
Vallombrosa, or scattered sedge afloat, there could be no 
hesitation about the construction. Eut the chain of parenthe- 
tic specifications betw r een leaves, and or, together with the 
picturesque association, and the beauty of the phraseology, — 
makes us for a moment lose sight of that intended transition 
to another subject of illustration, which should be imme- 
diate and perspicuous. For the substitutive sense of the con- 
junction or, is not at once so plain, that the phrase scattered 
sedge, might not, in the moment of utterance, be prospectively 
taken as a nominative in some new course of the description. 
But if the clause thick as autumnal leaves, which shows a 
comparison, be emphatically raised into memorable notice, 



RECAPITULATING VIEW OF EMPHASIS. 361 

and if the succeeding words, extending to the semicolon, be 
hurried, yet becomingly, a subsequent emphasis on scattered 
sedge afloat, will at once refer the ear back to the last simi- 
lar distinction of the voice, on autumnal leaves, and thus 
indicate, that the angel forms lay likewise as thick as the 
scattered sedge afloat. 

This means of expression, for so it is, was called, in the 
section on Grouping, the Emphatic tie : and certainly in the 
present case, it has no other object than to join these dis- 
severed thoughts ; since in a more natural and perspicuous 
connexion, there would be no call for the emphatic dis- 
tinction. 



Having thus enumerated the various modes of time, quality, 
stress, and intonation, by which certain words or syllables 
are brought conspicuously before the ear, the reader is pre- 
pared to receive the term emphasis, with a wider definition 
than is usually given to it. 

Emphasis is a generic term for the extraordinary impres- 
siveness of the sense or sentiment of words : the species of 
impression being founded on the varied accidents of the 
voice. 

From this view it appears, that Emphasis, and what we 
have called Expression, may be considered in most cases, as 
convertible generic terms ; since emphatic words differ from 
such as are unemphatic, through those functions which con- 
stitute the proper expression of speech. 

The preceding analysis will enable us to display the whole 
compass of the art of reading, with some amplitude of plan, 
and accuracy of delineation. Words, as symbols of meaning, 
may be considered under three aspects : — as representative 
of simple thought ; as indicative of an enforcing of thought ; 
and as expressive of passion. The progress of the voice in 
speaking, is called melody. The course of melody under the 
direction of simple thought, is through the interval of a 
tone in the radical change, with a concrete rise of a tone 
46 



362 RECAPITULATING VIEW OF EMPHASIS. 

from each of those radicals. But the portions of discourse 
which represent simple thought, are limited : those thoughts 
are to be enforced, and passions are to be expressed. The 
tenor of the simple diatonic melody is therefore often inter- 
rupted, by an occurrence of wider intervals of the scale, 
both in the concrete and discrete forms. Thus it appears 
that certain transitions of pitch which were called phrases 
of melody, and were said to be, in the diatonic succession, 
seven in number, are for the purposes of emphasis extended 
to other intervals. For on the principle which suggested the 
name of the ditone or second, we may, by the employ- 
ment of wider radical changes, have the Phrase of the 
Third, and Fifth, and Octave, both in an upward and down- 
ward direction. 

If the foregoing history of the speaking voice has been 
sufficiently clear, the reader may now be able to take a dis- 
criminative survey of that system of melody and expression, 
which has been so long bearing its part in the ways of 
human thought and passion, without a single ear to measure 
the niceties of its instrumentality, or wisely to admire the 
perfection of its purpose : and if his mind is large and libe- 
ral enough to let in other thoughts than those of interest and 
fame, he may herein possess and enjoy, at least the picture 
of a simple and beautiful system of nature, if he cannot, by 
practical means, offer it for sale or applause. 

The possession of a good ear, together with a resolute 
practice, will be necessary for the precise recognition, and 
skilful employment of the forms of vocal expression. But a 
full understanding of the mere analysis and system of speech, 
without this practical skill, will enable us to overlook the 
exercises of others, with the decisive commendation or cen- 
sure of an intelligent criticism: to carry the steady arm of 
principles, against the self-conflicting councils, and change- 
ful orders of authority : to hold out against error with the 
strong defences of a cultivated taste ; and to associate the de- 
lightful but passing perceptions of the ear, with the con- 
tinued and busy pleasures of mental discrimination. 



RECAPITULATING VIEW OF EMPHASIS. 363 

When the reader reviews the preceding history, he is re- 
quested to bear in mind that its purpose was to analyze the 
functions of speech, without a strict limitation of the search 
to those points which might be readily cognizable in ordi- 
nary utterance, or practically important in oratorical instruc- 
tion. There is in this work, no contribution to knowledge, 
which has not been drawn from nature, by patient observa- 
tion and experiment. Many parts of the detail will at once 
be recognized by the competent critic ; others will be after- 
wards received into the growing familiarity of his inqui- 
ry; whilst some of the descriptions, even if admitted, will 
still be considered as refinements, beyond the reach of per- 
ception and of rule. As a physiologist, I have done no 
more than my duty in this record, however apparently 
useless some of its minutiae may be. Much of the accu- 
mulated wealth of science is not at interest ; but the bor- 
rowers may one day come. It is readily granted, that some 
distinctions in this history, may be at present practically 
disregarded. Thus the several forms of stress are described 
as palpably differing functions; and they are so, in speech: 
yet I have not ventured to insist on the importance of the 
difference in all cases. So in describing the nature and uses 
of the intervals of the scale, it was not designed to exclude 
the fourth, sixth and seventh from the speaking voice. Nor 
is it to be understood that some of the intervals of intonation, 
may not on occasions, be used as substitutes for each other, 
without affecting the force or precision of speech. I was 
also far from ascribing particular expressions to all the pos- 
sible forms of the wave. 

In thus opening the way for the change of elocution, from 
an imitative art, with its inherent defects, to a science with 
all its constituent usefulness and beauty, it was necessary to 
set forth every function of the voice: that the materials 
might thereby be furnished towards the future establishment 
of a system of instruction, for those who have the rare aim 
in scholarship, of seeking high accomplishment, through the 
abundant encompassing of principles, and the condensing 



364 DRIFT OF THE VOICE. 

economy of systematic means. That the inquiry into this 
subject has produced much that will be imperceptible to the 
first scrutinies of the general ear, we must be convinced, 
from the past history of human improvement. The myste- 
rious subject of the Speaking Voice, has been at all times so 
despairingly abandoned, as beyond the reach of analytic per- 
ception, that the supposed impossibility alone will perhaps 
furnish a heavier argument against the claims of this Demon- 
strative Essay, than that which the Author might reasonably 
have raised against his own hopes of success, on entering 
this forbidden field of philosophic inquiry. Many who in 
fine organization of ear, and a capability of delicate ana- 
lysis, possess the means of successful investigation, will, too 
probably, shrink from the labors of experiment; and seek to 
justify infirmity of resolution, by defensively assuming the 
hopelessness of trial. 



^w^^p^wt^ 



SECTION XLVI. 

Of the Drift of the Voice. 



He who listens to a good reader, may perceive that his 
voice is not only adapted to the varying sentiments convey- 
ed by individual words, but that there is a style in the 
movement which runs through the parts or the whole of 
discourse ; is accommodated to its reigning character or 
spirit ; is identical during the prevalence of that spirit, and 
changes with its variations. Every one recognizes this 
difference in manner between a facetious description, and a 
solemn invocation from the pulpit ; between the vehement 



DRIFT OF THE VOICE. 365 

stress of anger, and the well known whining of complaint. 
It is to this continuation of the same style, whatever may be 
its characteristic, that I apply the term Drift of the voice. 

The characteristic of drift is derived from the various 
modes of Quality, Force, Time, Abruptness, and Pitch. 
My purpose here, is to enumerate its forms ; and to show 
how far they may be generally employed in speech. 

This subject is not unnecessarily specified by a name; nor 
uselessly offered to the studious attention of the reader: for 
if a particular drift is required on a portion of discourse, or 
on the whole of it, any interruption of the assumed and appro- 
priate character, will do equal violence to sentiment and to 
the ear. Thus the introduction of a tone or second, into the 
plaintive drift of the chromatic melody, would no less offend 
against the propriety of speech, than the errors of time 
in music, would offend the sensibility of an accurate ear. 

The importance of the subject of drift being admitted \ 

let us consider, Upon what it is founded ; and how 

many different forms it may employ, 

Drift is founded on the various species of the five generic 
accidents of speech, enumerated above. These species have 
been described, as regards their individual character ; their 
expressive meaning ; and their occasional purpose of em- 
phasis. In the present section, we consider their mode of 
application, and their peculiar effect, when continued through 
a part or the whole of the current melody. 

The question, How many different styles the drift may 

assume, — is to be answered, by ascertaining which of the 
syllabic modes of quality, force, time, and pitch, will bear 
continued repetition ; for there are some which cannot be 
so repeated, without producing a disagreeable monotony. 
In general, it may be said, — that most of the specific 
forms of time, stress, and intonation, are as occasion re- 
quires, applicable in continuation without violating propriety 
or taste. There are again, some which we can employ 
only on a few, or on solitary syllables, and which therefore 
are not allowable as a drift in discourse. 



366 DRIFT OF THE VOICE. 

On this subject, it is necessary to remark, that though 
the peculiar character of the drift may be sustained through- 
out a whole sentence, yet the mode of voice which produces 
it, can in some cases be executed only on certain syllables. 
Thus, in the expression of dignity by means of long quan- 
tities, the unaccented syllables cannot bear a protracted 
time ; still the character of dignity will prevail in the sen- 
tence, even with this limited application. 

Let us enumerate the various kinds of drift. 

The Drift of the second, or the Diatonic Drift The 
diatonic melody was said to be the mode of utterance, for 
simple narrative or description ; being destitute of the marked 
expression that respectively belongs to question, argument, 
and passion. The style of this melody is produced by the 
concrete rise of a tone, and by a change of radical pitch 
through the same interval. The employment of any other 
mode, in discourse of this kind, would be inappropriate and 
disagreeable. Let an advertisement in a gazette, be read 
with the solemn drift of a protracted quantity, or in the 
plaintive style of the semitone ; and all will acknowledge, in 
this case, the improper application of time and intonation. 

In the usual course of the diatonic melody, perhaps the 
upward concretes predominate: the downward vanish of the 
second, being occasionally introduced for variety ; but when 
required by the gravity of the subject this downward second 
may without monotony constitute a drift. 

The Drift of the Semitone. Enough was said formerly 
on the subject of the chromatic melody ; it exemplifies the 
present head. This style is spread throughout discourse of 
a plaintive, tender, and supplicating character. It was 
proved in its proper place, that every interval is practi- 
cable on every kind of quantity. The semitone therefore, 
in its drift, is heard on every syllable however short ; and 
even though unaccented. 

The Drift of the Downward Vanish. It was said that 
the falling second is sometimes used as a drift. The down- 
ward third and even the fifth are occasionally heard in 



DRIFT OF THE VOICE. 367 

continuation. Their currents express surprise and confi- 
dence, and when enforced by stress, earnestness of convic- 
tion and temper. The following indignant argument from 
the pleading of Volumnia in Coriolanus bears the downward 
third throughout. 

Come let us go : 
This fellow had a Volcian to his mother ; 
His wife is in Corioli, and this child 
Like him by chance. 

A continued use of the downward intervals, forms, as 
we have seen, one of the modes of drift in exclamatory sen- 
tences. 

The Drift of the Wave of the Second. This mode of 
pitch is used in continuation on long quantities, for occasions 
of solemn, deliberate, and dignified speech. I do not say, — 
this wave may not be applied to syllables of moderately pro- 
tracted time, and even to those which we have called muta- 
ble : but it is on long-drawn or indefinite quantities that the 
effects ascribed to it as a drift, become conspicuous. 

The Drift of the Wave of the Semitone. This is the 
most common form of the semitonic style ; since the senti- 
ments associated with the chromatic melody generally call 
for slow time and long quantities. Upon the subject of this, 
and of the preceding head, we must bear in mind that both 
the direct and inverted modes of these waves are used inter- 
changeably, in their respective melodies. 

The Drift of Quantity. The most attractive styles of 
speech are formed of the accident of Time. In discourse 
containing the sentiments of gaiety, mirth, anger, and other 
similar emotions, the utterance is quick ; and this is gene- 
rally combined with the simple concrete of the second, 
together with a radical or vanishing stress. The drift of 
long quantity is set on solemn, plaintive, and dignified com- 
position. 

We might make a threefold division of the temporal Drift, 
into that of — quick, — median, and — slow time. 



DRIFT OF THE VOICE. 

The Drift of Force. Loudness and Softness when re- 
spectively heard in continuation, do so impress the ear with 
their distinct peculiarities, as to constitute styles of utter- 
ance ; and the failure to fulfil the demands of sentiment 
on either of these points, must be included among the faults 
of speech. Who will deny that there are some occasions, on 
which the drift of comparative softness of voice would be 
entirely ridiculous : and others again, on which that of loud- 
ness would be disgusting bombast. 

The Drift of Radical Stress. In the section on empha- 
sis, it was shown, what sentiments require the application of 
this radical force to single words. But these sentiments 
sometimes prevail throughout discourse, and consequently 
the stress which they assume in continuation, imparts to 
melody the character of a drift. 

The Drift of the Median Stress. This is necessarily 
connected with long quantity ; and generally with that of 
the wave of the second and of the semitone. It is closely 
associated with the drift of these waves : for their protracted 
time is always the sign of that dignity, which generally 
admits the use of this median swell. 

The Drift of the Vanishing Stress. This stress was shown 
to be applicable to all the intervals of the scale. But as a 
drift, it can be employed only on the rise, and on the wave of 
the second and semitone, and on the downward third and 
fifth. The vanishing stress whether in the diatonic or chro- 
matic melody, marks a considerable degree of energy in sen- 
timent ; and communicates to the current of discourse, a 
style of utterance which cannot be mistaken. 

These ten modes of drift do, by the continued use of their 
respective forms, impress a peculiar characteristic on extend- 
ed portions, or on the whole of discourse. 

Of the other modes of the voice, none are allowable in that 
continuation which, according to our previous account of 
drift, would constitute a current style. And yet the appli- 
cation of some of them, extends so much beyond the limit of 
emphasis, that they deserve a place next in order to the full, 



DRIFT OF THE VOICE. 

or general drifts. If the reader is disposed to give them a 
name, founded on their nature, they might be called Partial 
drifts: thus we have, 

The Partial Drift of the Tremor. It was formerly 
stated that the tremulous movement is proper only on short 
and occasional passages, — passages of what might be called 
syllabic crying. But the tremulous expression, whether made 
in the plaintiveness of the semitone, or in the gaiety and ex- 
ultation of the second and wider intervals, is too remarkable 
to be kept up through a long line of discourse. For though 
drift is by its nature a monotony, it is only disagreeable 
when improperly applied, or unduly continued. 

The Partial Drift of the Aspiration. The sentiments 
which give rise to this symbol are, like those of the preceding 
head, generally limited to temporary portions of melody. 
"When so applied, the character of utterance justly entitles it 
to the name of drift. 

The Partial Drift of the Guttural Vibration. The scorn- 
ful feeling which calls for this form of expression is some- 
times continued for more than the time and the solitary 
occasions of emphasis; and thus produces a partial drift. 

The Partial Drift of Interrogation. The reader may re- 
collect that the third, fifth, and octave are the intervals of 
intonation in a question. Their partial use in interrogation, 
exceeds in so slight a degree the extent of their application 
to the purpose of emphasis, that they can scarcely in this 
case be entitled to the name of drift. But in those questions 
which are of declarative construction, or that otherwise de- 
mand the thorough intonation, the predominance of these 
impressive intervals, gives that peculiar character which the 
common ear at once perceives and comprehends. Still as 
questions are but portions of discourse, and as these wider 
intervals are never used in continuation for any other pur- 
pose, this form of drift must be considered as partial. 

The Partial Drift of the Phrases of Melody. The Mono- 
tone and the phrase of Alternation are sometimes severally 
used in continuation on certain portions of discourse, of 
47 



370 DRIFT OF THE VOICE. 

greater extent than those to which these phrases are appro- 
priate, in the plain and more common construction of the 
current melody. In a former section, peculiar expressions 
were respectively ascribed to these two phrases, when con- 
tinuously employed: consequently, when such a condition 
of the melody occurs, it gives according to its nature, the 
partial drift of the monotone or the alternation. 

It may be made a question, — how far Quality of voice, 
when given to a part or the whole of discourse, might con- 
stitute a drift. The fulness of the orotund may impart to 
utterance a character of dignity, which is at once distin- 
guishable from the meagre huskiness and forceless efforts of 
uncultivated speech. 

The compound stress and the loud concrete differ so 
slightly from the radical and vanishing modes of force, and 
from each other, that it would be a mere refinement to found 
styles of drift upon them. 

Such then are the several drifts which may appear 
throughout the whole of a discourse; or be set restrictively 
on one or a few sentences. 

There are however, some of the modes of vocal expression, 
which will not bear repetition ; and which consequently, are 
not admissible among the forms of drift. 

It was said that interrogative sentences of the Thorough 
kind might be regarded as carrying a partial drift of the 
third, — fifth, — or octave. But with the exception of this case, 
these wider intervals are never, in correct speech, used 
in continuation. The minor third, though a plaintive inter- 
val, is too peculiar in its kind to be tolerated as a drift. 
Its effect will be shown when we treat of the faults of 
speakers. 

As a current style, of these wider intervals of the scale, is 
forbidden in melody, so the combination of them into the 
wider kinds of wave, cannot be extended beyond the limited 
place of emphasis. There is however a drift of this kind ob- 
servable as a fault in readers : nay, some, in their formal 
efforts, can command no other style of intonation. But the 



DRIFT OF THE VOICE. 371 

least cultivation of ear rejects the undue repetition of these 
florid constituents of speech. 

It need scarcely be said that the emphatic vocule cannot 
be the basis of drift. 

There is a prominent feature in the art of reading, which 
seems nearly related to the subject of this section. I mean 
the notable change of voice in the transition, by a good reader, 
from one paragraph or division of discourse to another. It 
may be supposed that this point is already included in the 
foregoing history of drift. When any strong or peculiar 
sentiment is contained in the new paragraph, it will indeed 
be marked by the required style. But without seeing the 
page, we can sometimes perceive that a reader is passing to 
a new subject, even where there is no striking alteration of 
expression : and where the plain diatonic melody continues 
in use, after the transition. 

In such cases the peculiar effect is produced by several 

agencies. First, By the period which precedes the 

change, being made with that most complete close which we 
called the prepared cadence. This indicates the termination 
of the preceding subject, and thereby implies the introduc- 
tion of a new one. Secondly, By a pause, longer than 

that between sentences which are nearly related to each 
other. Thirdly, By the succeeding sentence or para- 
graph beginning at a pitch above or below the line of the 

previous current. Fourthly, By a striking effect from 

the phrases of melody applied to the outset of a new topic. 

These vocal indications make the change of subject ob- 
vious, in those cases in which a peculiar construction of the 
commencing phrase defers the development of its sense, and 
renders it impossible to discover, by. the few first words, 
whether the proximate sentences are immediately or re- 
motely related to each other. 

From a review of this subject, it appears, that many of 
the modes of expression may be in continual use as a drift, 
without producing monotony ; that some admit of repeti- 
tion, only to a certain extent ; whilst others do not bear an 



372 DRIFT OF THE VOICE. 

application beyond the solitary place of emphasis. It ap- 
pears, too, that those which are inadmissible as a drift, have 
a very striking character, and are reserved for the occasional 
purposes of emphatic distinction. Thus the downward 
eighth, which has the most impressive intonation, is never 
used in drift. The case is similar with the wider forms of 
the wave ; and the rising third, — fifth — and octave, when 
not employed for interrogation. 

After what has been said, a little attention will show that 
several styles may exist at once, in the same melody. Thus 
the drifts of the second, — of short time, — of the radical or the 
vanishing stress, and — of loudness, may be united. In like 
manner we may have a combination of the drifts of the 
wave of the second, — of long quantity, — of the median 
stress, — of loudness or of softness. In short, the reader can 
ascertain which of them may be associated, by knowing the 
compatible characteristics of the several modes of expression ; 
for they are united in the practice of the voice, in every pos- 
sible way. 

It is not necessary to give extracts from authors, to illus- 
trate the various kinds of drift. After all that has been 
said of the accidents of the voice and their species, in former 
sections, together with the foregoing history of their applica- 
tion in a continued style of speech, I need not waste time on 
those explanations which the intelligence of the reader must 
render superfluous. For I am not less solicitous to restrict 
the number of the pages of this essay, than to extend the 
measure of its instruction. 



VOCAL SIGNS OF THE PASSIONS. 373 



SECTION XLVII. 

Of the Vocal Signs of the Passions, 

I have already given a physiological description of the 
functions of the voice, and have pointed out their expressive 
powers, as far as they denote simple thought, sentiment, 
feeling, emotion, or any other named condition of the mind. 
This should satisfy the reader ; since it describes, in its own 
general way, all that to me, at least, is audible and capable 
of measurement. But former systems of elocution having 
embraced an inquiry, however fruitless, on the delineation 
of the passions in speech ; such a view, though superfluous 
after what has been said, may perhaps be demanded at my 
hand. 

There is a hypocritical compliment, always paid to ori- 
ginality, the contradictory spirit of which is, that mankind 
are eager to receive what is new, provided it is told in the 
old way. I can imagine that a few of my readers, even after 
all that is here written on the forms of expression, and the 
sentiments represented by them, may still, through the 
influence of habit, ask for a separate chapter on this subject. 
Having therefore fulfiled a purpose of this essay, by describ- 
ing, under their respective sections, both the nature, and the 
peculiar effect of the vocal signs of the passions ; I am now 
going to satisfy an expectation, and at the same time give a 
varied view of expression, by a formal detail under the 
word. 

I had occasion, in the introduction, to notice the limited 
degree of our knowledge, in some of the scholastic depart- 
ments of Elocution: and having, from the first, resigned 
myself wholly to the authority of nature, I have adhered 



374 VOCAL SIGNS OF THE PASSIONS. 

to an early resolution, to avoid both controversy, and quota- 
tion ; since even in the limited pretensions of these depart- 
ments, there is much that is unintelligible, and more that is 
erroneous. We are now about to leave, for a moment, the 
beautiful prototype of nature, to contrast her lights, with the 
mysterious shades of the opinions of men. 

No author, as it appears, has paid more attention to into- 
nation, particularly as regards its practical uses, than Mr. 
Walker. Indefinite as he is on this point, he far exceeds in 
precision and useful rule, all that is said by Aristotle, Cicero, 
Dyonisius, Quinctilian, and the old musicians. It is true, 
Mr. Walker owes his superficial analysis to them : but in his 
account of the application of Inflection, if not in the real 
knowledge of it, he fairly * treads upon that Greek and Ro- 
man glory,' which national vanity first proclaimed, and the 
subsequent credulity of European scholarship was simple 
enough to magnify and repeat. 

But let us hear what Mr. Walker says of the vocal repre- 
sentation of the passions. 

'It now remains,' observes this author,* * to say something 
of the passions and emotions of the speaker. These are en- 
tirely independent on the modulation of the voice, though 
often confounded with it : for modulation relates only to 
speaking loudly or softly, in a high or in a low key, while 
the tones of the passions or emotions mean only that quality 
of sound that indicates the feelings of the speaker without 
reference to the pitch, or loudness of the voice.' 

Again in the hundred and sixty-sixth page. 

1 The truth is, the expression of passion or emotion con- 
sists in giving a distinct and specific quality to the sounds we 
use, rather than in increasing or diminishing their quantity, 
or in giving this quantity any local direction.' 

And again in another work, f 



* Elements of Elocution, page 308, Am. Ed. 

t Observations on Greek and Latin quantity, appended to Walker's Key to 
the pronunciation of ancient proper names. 



VOCAL SIGNS OF THE PASSIONS. 375 

* As to the tones of the passions which are so many and so 
various, these in the opinion of one of the best judges in the 
kingdom, are qualities of sound occasioned by certain vibra- 
tions of the organs of speech, independent on high, low, loud, 
soft, quick, slow, forcible or feeble' 

It often happens with the aspirants after science in the 
schools, as it did with those who underwent the mummery 
of admission to the mysteries of Eleusis, — to hear themselves 
addressed in an incomprehensible language. What instruc- 
tion, for instance, can be gathered from this definition? — 
* T he tones of the passions mean only that quality of sound 
that indicates the feelings.' Here instead of an explanatory 
description of a thing, we are presented with a truism in a 
paraphrase. For, as the terms * passions' and 'feelings' 
are here synonymous, as well as those of 'tone' and 'quality 
of sound,' the proposition may stand thus : ' the tones of 
the (or the tones which indicate the) passions, mean only 
the tones which indicate the passions :' or with less waste 
thus ; ' the tones of the passions are the tones of the passions.' 

But the second extract seems to contain a real distinction 
between the subject and the predicate: because by 'quality' 
the author may mean that accident of sound, which in this 
essay was specified by the terms — full, harsh, slender, natu- 
ral falsette, whisper and orotund ; for these are the only ex- 
isting qualities of sound, besides those which Mr. Walker 
has excluded from the definition. But if pitch, which is here 
meant by ' local direction,' be denied a place among the 
symbols of passion, what shall we say of the comprehensive 
class which includes the pitch of the semitone — the rising 
intervals which signify interrogation — the downward vanish 
which conspicuously marks the various degrees of surprise ? 
And in short, what is to be said of the effect of the different 
measures of time, and the various degrees of stress, if speak- 
ing ' loudly or softly,' and ' increasing or diminishing the 
quantity' of sound have nothing to do with the vocal expres- 
sion of passion? 



376 VOCAL SIGNS OF THE PASSIONS. 

But the secret cause of Mr. Walker's excluding intona- 
tion, and stress, and time, from among the signs of the pas- 
sions, — and of his reiterated attempts to resolve these signs 
into a certain unexplained word called ' quality,' is clearly 
manifested in the last quotation ; for here, this opinion, on the 
physical agency of quality, is ascribed — to ' one of the best 
judges in the kingdom.' After all then, this confused notion 
concerning the passions was adopted upon authority, by Mr, 
Walker: and this mode of faith, certainly did not accord 
with his repeated claims to originality of observation. An 
original observer holding himself responsible for his report, 
cross-questions the testimony of his senses : but the borrower 
of opinions is less scrupulous, because he, himself, never stands 
security against the folly or mischief of his promulgations. 

What has been recorded in the previous history, may in- 
duce the reader to smile at the above quotations : and enable 
him to perceive, that the vocal signs of the passions consist 
of the Quality, — or Force, — or Abruptness, — or Time, — or 
Pitch of the voice ; and that the greater part of these signs 
are derived from those very accidents, which are declared 
by Mr. Walker, to be unoperative in the causation of em- 
passioned utterance. With regard to the * specific quality' 
here assumed as the vocal material of expression, it is difficult 
to say, — whether the mode of sound called Quality, or Kind, 
in this essay, is meant by Mr. Walker's term ; since his ac- 
count of quality is complicated with an attempt to derive its 
proximate cause, from a.i unintelligible system of vibrations. 

Let the whole pass as an instance of that unnatural 
paternity in instruction, which when asked for bread, dis- 
penses nothing but a stone. And at the same time let it 
justify any unbecoming expressions which may have escaped 
me, when unavoidably brought into contact with those grosser 
errors of indolence or authority, which are almost unpardon- 
able. 

In recapitulating the subject of expression under another 
title, it is not my intention to go into a dissertation on the 



VOCAL SIGNS OF THE PASSIONS. 377 

nature of the passions, or to contend with authors about the 
scheme of their arrangement. I shall give that account of 
them which will answer the purpose of the present section, 
without designing to regard other relationships which they 
may hold. 

The human mind is the place of representation of all the 
existences of nature which are brought within the scope of 
the senses. These representatives are called ideas. These 
ideas are the simple passive pictures of things ; or they exist 
with an activity, capable of so affecting the physical organs 
as to induce us to seek the continuance of that which 
produces them ; or to avoid it. This active or vivid class 
of ideas, comprehends the passions. The states of mind 
here described, exist then in different forms and degrees, 
from the simple idea, to the highest energy of passion: and 
the terms thought, sentiment, emotion, feeling, and passion 
are but the verbal signs of these degrees and forms. Nor 
does there appear to be any line of classification, for sepa- 
rating thought from passion : since simple thoughts without 
changing their nature, do from interest or other incitement 
often assume the color of a passion. 

Such being one of the many views which may be taken of 
ideas, we pass to the consideration of the effects produced 
on the physical organs by those thoughts or feelings, consti- 
tuting their sensible signs or expression. These signs are 
various, but we are at present concerned only with those 
belonging to the organs of the voice. 

Some of those states of the mind which we have called 
passions, are possessed by man, in common with the inferior 
animal creation. These have their expressions seated con- 
spicuously in the voice, and in other muscular functions. 

Again, some states of mind are the product of human in- 
telligence, and of the social relations. These are destitute 
of such signs as nature seems to have allotted to her own 
original creations. Thus, there are natural expressions, 
both in the vocal organs, and in other parts of the body, for 
48 



378 VOCAL SIGNS OF THE PASSIONS. 

pain, surprise, and anger ; but none of any definite character 
for hope, contentment, and gratitude. 

From this view, we learn that there are two essentially 
different modes of expressing the various states of mind: 
since some of these thoughts, emotions, passions, call them 
what we will, are denoted by certain forms of stress, time, 
quality, and pitch joined to syllabic utterance ; whilst others 
can be described only by a conventional language which 
does not carry any of the natural vocal-signs of expression. 
Thus we signify command by the downward fifth or oc- 
tave ; and complaint by the semitone ; and the meaning of 
these symbols is the same in all nations. But it is not in 
our power, to express a sentiment of gratitude or irresolution, 
except we describe these sentiments, by those appointed and 
arbitrary words, which may vary in every different lan- 
guage. 

Though it thus appears that we have not a peculiar vocal 
sign for every state of the mind; yet it is to be remarked, 
that every state of mind may be expressed by the conven- 
tional language: for one can tell another, that — he is asto- 
nished, in the most simple style of intonation, and thus con- 
vey the knowledge of the existence of that sentiment, as well 
as he can by the most striking use of the downward octave, 
which is its natural sign. When astonishment is to be re- 
presented on a word or phrase, which does not describe it, it 
is necessary to employ the peculiar intonation which indicates 
this sentiment. 

One of the consequences of there being instinctive signs in 
the voice, for the expression of sentiment, and artificial signs 
in language, which describe it, is, that one vocal function can 
represent two or more sentiments or their degrees; for though 
the kind of intonation is the same, and therefore in itself cannot 
signify different species or shades of meaning, yet a union of 
this identical intonation with the descriptive terms, serves to 
mark the designed variety. Suppose for instance, one should 
use the imperative phrase, be gone, with the strongest down- 



VOCAL SIGNS OP THE PASSIONS. 379 

ward vanish of the octave : and again, with the same intona- 
tion, should say / am astonished; the difference between 
these two emotions of command and astonishment, would be 
distinctly represented under this identical intonation, by the 
words in which they are severally conveyed. Thus too, the 
same semitone is used for the expression of pain, discontent, 
pity, grief, and contrition : and yet in all these different cases, 
the sentiments are marked by the conventional language on 
which the semitone is employed.* 

* A union of the Verbal and the Vocal modes of expression, if 1 may thus dis- 
tinguish them, seems to be so essential, that it is difficult to determine which is 
most significant in conveying the sentiments of the speaker. The power of giv- 
ing a different meaning to the same word, by a varied quality, stress, or intona- 
tion, would imply that the vocal or instinctive signs, are more effective than the 
verbal or conventional. But there are other circumstances which warrant a con- 
clusion, that we are as much indebted to the descriptive agency of words, as to 
any expressive management of the voice. 

It will hereafter be shown in the analysis of Song, that every function which 
we have ascribed to speech, is employed in its higher style of execution: and 
though it is true that the semitone has a plaintive expression, even if sung without 
words : still the rising and falling concretes of the third, fifth, and octave, when 
not set to words which express the sentiments of these intervals, are constantly 
heard in song, without producing the audible characteristics of interrogation, 
positiveness, or surprise. The various forms of stress too, which have their pro- 
per expression in syllabic utterance, seem to be almost without meaning in the 
inarticulate movements of song. 

But a still more striking view of the power of language, as contrasted with ab- 
stract intonation, is displayed in the vocal functions of brute animals, and par- 
ticularly of birds. 

When a familiarity with the analytic scheme of this essay will have given to 
the ear a facility of discrimination, it will be perceived that birds, in their notes, 
employ all the intervals of the concrete movement without suggesting the senti- 
ments of surprise, interrogation, positiveness, and scorn, together with the repose 
of the cadence, which would be eminently conveyed by those intervals, when 
joined with words that describe these several sentiments. The representation of 
plaintiveness by the semitone, as in the voice of the dove, and of pleasure by the 
tremulous scale, as in the horse when snuffing his food, is indeed made without a 
syllabic sign, and yet is identical with the display of these feelings in the human 
voice. But it must be recollected that laughter and crying, which are here the 
analogies to these animal expressions, are generally inarticulate, and are thus to be 
considered as merely animal signs, in the human voice. 

It is then the union of an arbitrary Verbal description of a sentiment with the 
natural Vocal sign of it, which constitutes the true and requisite means of expres- 
sion in speech. 



380 VOCAL SIGNS OF THE PASSIONS. 

We have had occasion more than once to learn, that the 
modes of expression are always applied in combination. 

I must here beg the reader to excuse a momentary digression from our subject. 
In the course of this essay many analogies might have been shown between the 
human voice, and that of inferior animals : but I designed to avoid mingling these 
two subjects of natural history. 

Speech is but an aggregate of the functions which are dispersedly exercised, by 
all animals : for there is scarcely a mode of quality, time, intonation, force, ab- 
ruptness, and even of articulation, which is not common to man, and in severalty 
to the brute. Man possesses more vocal signs than any one species of animal, 
but perhaps less than all : the principal difference consisting in his power over 
the structure and chain of the syllabic function. 

Upon the ground of this identity, and with the light of the describable measure- 
ment, and definite nomenclature of the human voice, which is set forth in this 
essay, — What is there to prevent the voices of animals being taken into view, in 
the systematic arrangements of Zoology? 

Naturalists have sometimes attempted this in a rude way, by a reference to 
alphabetic sounds, and to the modes of time and stress in words and phrases. 
When boys find a resemblance in the whistle of the partridge to the words 
( bob white ;' and think they pronounce the short song of the ' whip-poor-will ' 
in its name, the similarity lies in the stress and the time of utterance; for this 
song, as well as many mechanical noises, resembles, at the whim of the listener, 
any phrase which has an equal number of syllable-like impulses, and the same 
condition of quantity and accent. 

Birds in the endowments of voice, have — a single Chirp — a Phrase of two 
or more notes ; and — a continued song which may be distinctively called their 
Melody. Some birds have only the chirp; others, the chirp and phrase; and a 
few, the chirp, phrase and melody. Now there is scarcely a person of cultivated 
ear with the light or classification and description contained in this essay, who 
would have much difficulty in discovering, whether the chirp of a bird is in the 
concrete or radical pitch of a semitone, a second, or other interval ; of how many 
movements the phrase consists, and what are their places of pitch ; and of what 
combination of phrases the melody is made. As far as observation extends, we 
know that the voice of birds is unchangeable in the species : it is therefore as well 
entitled to nomenclature, provided it can be assigned definitely, as the feathers, 
beak, and claws. If analysis had never furnished discriminative names for color 
and form, even these characteristics, like those of the voice, would never have 
been known in the descriptions of ornithology. 

Without extending our observations to the whole range of animals, among 
which all the accidents of the human voice, even to the protracted radical and 
vanish of song are found, I here give an outline of the vocal functions of the 
Mocking-bird, as illustrative of the powers which generally belong to its class. 

The Mocking-bird has every variety and degree in duality of voice, from the 
delicate chirp of the sparrow, and harsh scream of the jay, to the guttural bass of 
the clucking of the hen. He uses every form of time, from a mere point of sound 
to the duration of our most passionate interjections. He has a perfect command 



VOCAL SIGNS OF THE PASSIONS. 381 

There must be at least two conjoined, ancTthere may be 
more. Thus the different forms of stress are necessarily- 
over all the intervals of the scale, both ascending and descending, and in the dis- 
crete as well as the concrete pitch. His simple concrete exhibits the most beauti- 
fuhstructure of the radical and vanish. He performs the wave in its equal and 
unequal, its direct and inverted forms, through all intervals: but I cannot say 
that he uses its double movement. He exhibits all the modes of stress on the 
concrete, which belong to the human voice. Its compound species which consti- 
tutes the proper vocal shake, he has in great perfection. It is the diatonic shake, 
the semitonic not being found in his song, nor, as far as 1 know, in that of any other 
bird. He makes great use of the tremor, both on a continued line of pitch, and 
in every diverse movement through the scale. His tremor has not the chromatic 
character, as far as I recollect it ; for my observation of the bird has been transient, 
and never with the view to the present record. Some other birds have a tremor 
of a plaintive expression. The structure of his song is that of a chirp, phrase, and 
melody. His melody however is very short: the apparent continuity of its 
powerful and rapid evolutions consisting of an endless permutation of chirps and 
short phrases ; for I have not been able to perceive any formal order in their 
successions. 

It may thus be seen, that the constituents of the song of the Mocking-bird, like 
the constituents of speech, are few in number ; but in each case, our ignorance of 
their analysis has created a belief that they are infinite. The union of their cotn- 
binable forms makes them appear more numerous than they are : thus a certain 
quality or interval, may be heard in succession under every variety of time ; and 
the same concrete, or tremor, or shake is heard upon one breath, in several differ- 
ent qualities, and in as many different places of pitch. 

The doctrine of the signs of the passions, in speech, is strictly applicable to the 
voices of inferior animals, as regards those sounds which are purely vocal and sepa- 
rate from words. Thus the repeated chirp, which seems to be the idle and un- 
meaning voice of birds, is generally a short quantity, upon a single rising or fall- 
ing concrete second, or third, and rarely, as far as I have observed, on the wider 
intervals. A prolongation of the chirp is usually expressive of their passions and. 
appetites. Pain, love, and fear, are always exhibited in the movement of the 
semitone. — But I am agreeably led on towards an arrangement, when I designed 
only to suggest the scheme to others. 

The subject is at least curious, if not useful. But it lies out of my way. There 
are in all sciences large volumes of compilation ; let us have from some naturalist 
with a good ear, a little book of original truth, on the matter here proposed. Let 
it be done by pure and personal observation. Let the author not lose his strong 
breath of usefulness and fame, by a puerile precipitancy after reputation ; nor 
hasten with his unripeness, in the market-like fear of being forestalled. Patient 
and enthusiastic study, independent observation and thought, and a disinterested 
love of truth, with their sure and great results in science, are always solitary in an 
age, and cannot therefore be forestalled ; — and on this point, as in promises of 
another kind to man, is will be with those who seek the eternal truths of know- 
ledge, that 'the Last shall be First.' 



382 VOCAL SIGNS OF THE PASSIONS. 

made on an interval of pitch ; it is the same with guttural 
vibration and aspiration. The intervals of pitch must be 
united with the accident of time, whether the quantity is 
long or short. Not one mode of expression can exist sepa- 
rately ; but several are sometimes combined in a single act 
of utterance : for we may have under one syllabic impulse, 
along quantity, a wide interval, aspiration, and some one of 
the modes of stress, all simultaneous in effecting a particu- 
lar purpose of expression. 

I now go on to give a summary of the modes of thought, 
variously called sentiments, emotions, feelings, and passions, 
which are severally signified by their instinctive, or their 
conventional signs. And first ; of — 

Feebleness of Voice. This mode of expression is here 
spoken of as a Drift, or as applied in continuation to dis- 
course. There are some states of mind connected with 
feebleness of body, that are properly portrayed by feeble- 
ness of voice. The expression here in view does not admit 
of the wider intervals of intonation, nor of the impressive 
modes of stress ; for these, and indeed other modes that 
might be mentioned, imply an energy which, by the very 
terms of this head of our subject, is excluded from its signs. 
Some of the conditions and sentiments requiring a feeble 
voice, are humility, modesty, shame, doubt, irresolution, 
apathy, fatigue, caution and tranquillity. These generally 
employ the simple diatonic melody : but there are some 
emotions, which together with feebleness, use the semitone, 
and the wave of the second. Of this kind are grief, pity 
and awe. 

Loudness of Voice. This as the reverse of the last, is 
appropriated to states of mind which are associated with 
muscular energy, and vivid degrees of passion. There are a 
great many sentiments signified by this symbol ; for in addi- 
tion to those which employ it as a leading characteristic, 
such as rage, wrath, danger, and horror, there are some 
that depend, for their expression chiefly on intonation or 
stress, which do at the same time assume the character of 



VOCAL SIGNS OF THE PASSIONS. 393 

loudness. Of this class are astonishment, exultation and 
laughter. 

Quickness of Voice. In as much as quickness of the 
current melody generally goes with a Short Quantity in indi- 
vidual syllables, we do not make separate heads for these 
two subjects. Some of the states of mind that fall under 
this division, are likewise expressed by other symbols, parti- 
cularly by that of Loudness, last mentioned ; as rage, 
wrath, mirth, raillery and impatience. It also happens that 
many of the sentiments which have their principal signs in 
forms of intonation and stress, are associated also with quick- 
ness of voice. 

Slowness of Voice. A Slow time of discourse, if not made 
by Long quantities on single syllables, would be offensive 
from its pauses. These two forms of time therefore necessa- 
rily accompany each other. Slowness of time and long 
quantity are generally joined with the wave ; since the 
continuous return of an interval into itself, is one of the 
means for producing an extension of time without destroying 
the nature of the equable concrete of speech. They are an 
essential cause of dignified utterance, and are therefore al- 
ways united with those intonations which bear this ex- 
pression : Slowness of time, with its constituent long quan- 
tity, is used as the symbol of many emotions or passions ; 
among which may be enumerated sorrow, grief, respect, 
veneration, dignity, apathy, contrition, and all other senti- 
ments that embrace the idea of deliberation. 

Quality of Voice. It is unnecessary to repeat here all the 
terms by which the species of quality or kind of voice are 
commonly noted. But the following are some of them, with 
the passions annexed. Harshness is affected by anger and 
imperative authority : gentleness by grief, modesty and com- 
miseration : the whisper, which is a kind or quality of voice, 
by secrecy. The falsette is heard in the whine of peevish- 
ness, in the high tremulous pitch of mirth, and in the piercing 
scream of terror. The full body of the orotund, in a cultivated 



384 VOCAL SIGNS OF THE PASSIONS. 

speaker, gives satisfactory expression to all those sentiments 
which are grounded in solemnity and grandeur. 

The Semitone. The simple rise of the semitone is rather 
an unfrequent form of expression ; since most of those senti- 
ments which call for its plaintive intonation, and there are 
many of this kind, require a long quantity, and consequently 
are properly expanded into the wave of this interval. Still 
complaint, grief, and other emotions of like import, may 
sometimes be made with an earnestness of spirit which 
requires a short syllabic time. In this case the voice cannot 
bear the delay of the wave, and effects all the purposes of the 
semitonic intonation, by the simple rise or fall through the 
concrete, with the addition, when necessary, of the radical 
or vanishing stress. 

The Second or Tone. All those states of mind which 
accompany what may be called mere thought, in contradis- 
tinction to passion: all those narratives or descriptions 
which represent things as they are in themselves, without 
reference to our relationships to them, on the point of pleasure 
or pain, desire or aversion, interest or injury, — these are all 
represented by the plain unobtrusive interval of the second. 
The other modes of expression have something striking 
in their character, which the attentive student may easily 
recognize. When, therefore, none of these are obvious, he 
may conclude that the current of speech is in the diatonic 
melody ; that is, the syllabic utterance, is through the rise 
or fall, and the radical change of a tone. 

The Rising Third, Fifth and Octave. These intervals 
are here thrown into the same class, because they are gene- 
rally used to express different degrees of sentiment. Accord- 
ing to the extent of the interval employed, they represent 
interrogation, under the different features of dignity and 
of earnestness. They mark admiration, and hence are fre- 
quently used as means for emphatic distinction. When uni- 
ted with aspiration they do the part of the downward inter- 
vals of the scale, and indicate surprise and • its congenial 



VOCAL SIGNS OF THE PASSIONS. 385 

emotions. They express a conditional sense when used on 
emphatic words. The octave has the power of raillery, of 
quaintness and of mockery. When the guttural vibration is 
united with these intervals, particularly the wider, it adds 
scorn to a question ; and joins to their character in empha- 
sis, the sentiments of haughtiness, disdain, indignation, con- 
tempt, and scorn. The deliberate execution of these inter- 
vals requires long quantity in syllables : but in their simple 
rise, they have not that protracted duration, and conse- 
quently that solemn and dignified character which belongs 
to them, when doubled into the form of the wave. 

The rising Minor Third has the general character of the 
expression of the semitone. But it seems to be less adapted 
to Speech, except where the emphasis calls for something 
like crying. 

The Downward Third, Fifth, and Octave. In general 
description, we may say these intervals severally express 
different degrees of the same sentiments. They are empha- 
tically appropriated as the signs of surprise, astonishment, 
wonder and amazement ; and though the terms of these 
emotions, are by no means synonymous, still the emotions 
themselves are each and all effectually represented by any 
one of the above named intervals. The designation of the 
specific difference, being made by the conventional meaning 
of the words on which the interval is employed, and not by 
any power of intonation ; for this, by the condition of the 
cases here considered, is identical in each instance. These 
downward intervals denote a positiveness, and a settled 
conviction on the part of the speaker : hence they are given 
to phrases significative of authority, command, confidence, 
and satisfaction. A downward movement is, as we have 
seen, the symbol of a pause in the sense, at the place of 
a cadence: and consequently is well suited to express those 
sentiments which have some affinity with that state of re- 
pose ; such as resignation, despair, and the condition of mind 
that attends fatigue. What was said of the rising minor 

third, is applicable to its use in a downward direction. 
49 



386 VOCAL SIGNS OF THE PASSIONS. 

The Wave of the Semitone. The expression of the simple 
rise and the fall of the semitone was spoken of above : but its 
return or contrary flexure into the wave, is the most com- 
mon form of this expressive interval. Indeed there is 
scarcely a vocal symbol which represents so many and such 
various emotions : the specific distinction of the cases, depend- 
ing on the phraseology or term in which the emotion is con- 
veyed. The wave of the semitone differs from the simple 
interval, in the dignity of the expression, derived from its 
extended quantity : and in its enhanced degree, from the 
repetition of the interval in a contrary direction. Sorrow, 
grief, vexation, chagrin, repining, contrition, impatience, 
peevishness, compassion, mercy, commiseration, condolence, 
pity, love, fondness, supplication, fatigue, and pain — with all 
the differences which may exist between them, are still ex- 
pressed by this intonation of the wave of the semitone. 

The Wave of the Second. The interval of the second, 
whether in a rising or a falling direction, being the symbol 
selected by nature for plain unimpassioned discourse, we 
cannot properly call it a form of expression. But as the 
downward return of this interval into the form of the wave, 
produces a long quantity, it necessarily adds to the second the 
peculiar effect of that quantity. It is this wave, when ex- 
tremely protracted, that gives to discourse a full character 
of dignity, solemnity and grandeur, without infecting it with 
the vivid coloring which belongs to the other accidents of 
— quality, abruptness, and force, and to the wider intervals 
of intonation. 

The Waves of the Third, Fifth, and Octave. The forms 
of the wave are so various, that it would far exceed the ele- 
mentary purpose of this work to attempt to enumerate them, 
and to assort them with the passions. I sufficiently unfolded, 
in a former section, the principles on which their expressions 
depend. The character of the constituent intervals of these 
waves, has a large influence in determining their respective 
expressions. The upward vanish of the last constituent of 
the inverted form has the force of interrogation; and the 



VOCAL SIGNS OF THE PASSIONS. 397 

downward course of the last constituent of the direct, car- 
ries the expression of surprise. If then the wave has the 
same character as its simple constituent, without a con- 
junction with the previous rise or fall, what need is there of 

its existence? It affords the means of giving long 

quantity to syllables, and consequently of expressing the de- 
signed emotions with dignity. In the double form, the wave 
denotes sneer, mockery, petulance, contempt, and scorn : but 
these two last are more conspicuously exhibited by conjoin- 
ing an aspiration with the wave. 

The wave of the minor third is only a more impressive 
form of that character, which belongs to its rising and its 
falling constituent ; and like them, it has no place but as 
an occasional emphasis in the chromatic melody. 

The Radical Stress. From what was formerly said of 
this stress, we know it to be the means for adding increased 
degrees of impressiveness to all the other vocal signs of the 
passions which are capable of receiving it. Though it is 
more particularly employed on immutable syllables, yet 
when a discourse is in quick time, it is the mode of stress 
even on those of indefinite quantity. Mirth, impatience, 
anger, wrath, and rage, are generally uttered with haste, 
and therefore take on this mode of stress, in emphatic places. 
It is employed on imperative words; for it has, among the 
modes of stress, a degree of positiveness similar to that which 
is expressed by the downward intervals, among the modes 
of intonation. 

The Median Stress* The radical stress was shown to be 
the means for enforcing the sentiments which employ short 
syllables. The median stress is the mode of enhancing the 
power of those which demand a long quantity, together with 
a smooth utterance. I say together with smoothness ; since 
long quantities do sometimes, for particular purposes, take 
on the abrupt opening of the radical, or the final jerk, of the 
vanishing stress. The states of mind which call for the 
median force, are those represented by waves of the various 
intervals ; particularly the dignity of the wave of the second, 



388 VOCAL SIGNS OF THE PASSIONS. 

and the plaintiveness of that of the semitone. Of these kinds 
are awe, respect, deliberation, solemnity, supplication, and 
reverential submission. It is likewise to be remembered 
that this median stress may be executed on a simple rise or 
fall, when it it is unusually prolonged ; thus the downward 
vanish of surprise may sometimes be invested with this 
mode of force. 

The Vanishing Stress. So much w T as said of this stress 
in a former section, and its expression was so particularly 
noticed, that it is unnecessary to repeat the detail here. It 
is a mode of force far inferior, in point of dignity, to the last 
mentioned stress; but it is sometimes highly effective on 
those words which convey sentiments, represented by the 
semitone and wider intervals, such as grief, surprise and 
interrogation : for by impressing the extremes of these inter- 
vals on the ear, it points out their several ranges more dis- 
tinctly than they are marked by the natural vanish. 

The Compound Stress. It was said formerly, that this 
Compound stress is scarcely distinguishable from the tho- 
rough stress, and the loud concrete. These three subjects 
may therefore be embraced under the present head. They 
are indeed separate functions of the voice ; but in reference 
to any practical application, it is unnecessary to allot dif- 
ferent expressions to them. When set on immutable syllables, 
they are identical in expression with the radical and the 
vanishing stresses ; nor do they differ much in their effect, 
even when heard on longer quantities. Whenever the com- 
pound stress is clearly made out, which may be the case on 
syllables unusually protracted, the expression will be more 
notable than that of either of its two constituent stresses. 
The three modes of force which are here classed together* 
may be considered as the proper symbols of energy or vio- 
lence of passion. 

The Tremor of the Second and of Wider Intervals. The 
tremulous movement, when applied to the intervals here 
named, serves to designate a number of sentiments consider- 
ably different from each other. And here again we have an 



VOCAL SIGNS OF THE PASSIONS. 399 

instance of a principle extensively operative in the expres- 
sion of the passions : for these sentiments, though set within 
the same general-frame of intonation, have their specific 
divisions marked by the conventional terms which describe 
them. The tremor of the second and of wider intervals is 
shown in the expression of exultation, mirth, pride, haughti- 
ness, sneer, derision, and contempt ; and in effecting these 
expressions, the tremor may move through the simple rise or 
fall, or through the wave. 

The Tremor of the Semitone, The tremulous movement 
through the semitone on a tonic element, is the crying-voice. 
When therefore it is used in syllabic intonation, it gives a 
sign of deeper distress to the sentiments which are associa- 
ted with the simple semitone. These have already been 
enumerated, and need not now be repeated. All of them 
embrace a greater or less degree of the condition of suffer- 
ing ; and though they may differ as widely as the several 
emotions of grief, tenderness, and supplication, each of which 
carries the semitone, yet when they are highly strained or 
become excessive, they naturally and alike fall into the 
tremulous intonation. 

The Aspiration. The reduction of the pure quality of 
the tonics and subtonics by a commixture with aspiration, 
produces a symbol of many and differing states of mind. It 
always accompanies the force of vociferations ; and is the 
faint sign of secrecy. It is joined with the loud utterance of 
all energetic sentiments, when they are not strained into the 
falsette. It also indicates the emotion of earnestness, curiosi- 
ty, surprise, and horror. On a former occasion, the ex- 
pression of contempt, sneer, and scorn, was assigned to the 
wave, particularly in its unequal form. But even this does 
not carry the full measure of these feelings, if an aspiration 
is not mingled with the intonation : and it is still further 
to be remarked, that when the aspiration is joined with 
any of the wider forms of the wave, and even with a simple 
upward or downward wider interval, it communicates to 
them the power of representing these same feelings. 



390 VOCAL SIGNS OF THE PASSIONS. 

The Guttural Vibration. This is a harsh vocal sign ; and 
therefore belongs to all those states of mind which are 
classed under ill-humour ; including dissatisfaction, peevish- 
ness, and discontent. But it likewise appears in the strained 
ferocity of rage and revenge, and is the common sign of 
shaming rebuke. It also has an import of sneer, contempt, 
and scorn. 

Of the Emphatic Vocule. This is purely an indication of 
force, and in the particular words which admit of it, is the 
sign of anger and rage, and of vehemence in any passion. 
It is however of rare occurrence ; and being almost need- 
less in cultivated elocution, ought perhaps to be even more 
rare than it is. 

The Broken Melody. The current melody has been re- 
presented as a succession of intonations, employing every 
species of interval both in concrete and in radical pitch; 
and intersected by pauses, applied as often as the sense, or 
a call for vivid delineation may require. But there are 
particular states of mind which over-rule the occasions, and 
grammatical proprieties of pausing, thereby producing nota- 
ble rests after very short phrases, and even after every word 
of a sentence, without reference to the connexions of syntax. 
I use the term Broken Melody, to signify those interruptions 
in utterance, which the excess of certain passions sometimes 
creates. 

The nature of this function will be best explained by 
giving the physiological analysis of it. 

In the section on the mechanism of the voice, two modes of 
expiration under which speech might be made, were de- 
scribed ; one resembling the act of sighing, by which all the 
breath is sent forth, in a simple impulse of short duration, 
and within which, scarcely more than one or two words 
can be uttered with ease. The other mode of expiration is 
used in common speech. Within it, we are able to utter 
whole sentences, by a frugal use of the breath, in giving out 
small portions at a time, to successive syllables. Since the 
former of these modes, seems to draw off all the contents of 



VOCAL SIGNS OF THE PASSIONS. 391 

the lungs, it might be called the Exhausting breath : and the 
latter from its being held back, to be dealt out as syllables 
require it, may be called, for want of a better name, the 
Holding breath. 

It was said formerly in treating of the orotund voice, that 
an infant begins to speak in the exhausting mode. It occurs 
likewise when one is l out of breath,' from exercise ; and in 
the extreme debility of disease. Hence in these cases, there 
is often not more than one syllable heard in a single act of 
expiration. The breath on which the tremulous movement 
of laughter and crying is executed, is of this kind. The tre- 
mor does indeed create a slight difference here: but if the 
reader will for a moment make the experiment, he will 
quickly feel that he laughs and cries himself, so to speak, to 
the bottom of his breath ; and that he cannot without an in- 
haling pause, continue the tremulous function, for that pro- 
longed period, through which he is able to carry common 
speech. 

This state of the respiratory organs which occurs in the 
exhausting breath, is produced by a high degree of certain 
feelings. Thus the operation of deep distress involuntarily 
creates this kind of expiration, in the form of a sigh. Now 
when we are under the influence of bodily pain, or mental 
suffering, the words which come forth, are borne upon the 
exhausting breath ; whieh allows but one, or at most, two or 
three words to a single act of expiration: and thus by the 
intersections of repeated pauses, the Broken melody is pro- 
duced. The case will be the same, should an excess of feel- 
ing blend the tremor of laughter or of crying with discourse ; 
for by the above described nature of these functions, the 
melody must be interrupted, through the frequent necessity 
of inspiration. It may be asked, — why the breath may not be 
rapidly recovered, as it is in the momentary rests of discourse, 
which are sometimes scarcely perceptible. The reason is 
this : In the holding expiration of common speech, the respi- 
ratory function does not discharge the whole of the air from 
the lungs ; such a quantity only is gradually spent in the ut- 



392 VOCAL SIGNS OF THE PASSIONS. 

terance of words, as may be imperceptibly restored by a quick 
act of inspiration. But in the process of speaking by the 
exhausting breath, there is an expulsion of nearly ail the air 
which can be discharged by an extreme contraction of the 
chest, and the subsequent act of filling the lungs requires a 
degree of expansion and a depth of draught, which cannot be 
so imperceptibly performed, and which occupy the time of 
the protracted pauses of the Broken melody. 

It is not necessary to speak of the phrases of intonation, 
which are used in the melody here considered. Every spe- 
cies may be employed; though, from the many interruptions 
of the current, the relationships of the phrases are not 
so perceptible nor so important in practical effect, as in the 
more connected sequences of a common melody. 

I have thus endeavored to open the way for a future de- 
scription of the various modes of passionate utterance, and for 
a systematic arrangement of them. They have been regard- 
ed in an insulated light, though not one is ever heard alone ; 
and in some instances many are combined in a single act of 
expression. Indeed, if after this elementary representation, 
the practical uses of the voice are considered, it will be 
found that they are employed under all modes of union 
which do not imply a contradiction. Thus a feeble and a 
forcible sound cannot exist in the same impulse of utterance; 
but either of these conditions may be conjoined with any of 
the modes of pitch, or quality, or time. No one interval 
of pitch can, during the same syllabic impulse, be any other 
interval ; but any interval of pitch, may as occasions require, 
be made simultaneous in execution with any quality, or time, 
or stress. So in the wave, the intervals of pitch may be 
consecutive in all possible ways: and these ways, whether 
in interval or arrangement, may be conjoined with all the 
accidents of the voice, not at variance with their definition. 

It is then by the use of the comparatively few modes of 
expression which have been enumerated, that the apparently 
infinite effects of speech are produced. But the preceeding 
analysis of the vocal functions, and the reduction of their 



VOCAL SIGNS OP THE PASSIONS. 393 

nomenclature to the above named terms must at once seem 
to put the inquirer in possession of the means, for surveying 
the whole extent of this supposed infinity ; and by causing 
him to think he sees the very number of the possible combi- 
nations, to change his vulgar wonder over obscurity, into an 
intelligent admiration at the comprehensive but still measur- 
able constructive-powers of a few constituents. 

The reader may now see why I have limited this work to 
the consideration of the forms of expression, in their separate 
state ; or have only regarded a few of their combinations. 
To give a full detail of every possible group, would be be- 
yond my design in setting forth the broad Philosophy of this 
subject. Nor indeed is it necessary in a practical point of 
view ; for should our purpose be to analyze the complex con- 
stituency of speech, the duty in this case would consist in 
resolving the combination into its parts ; the object to which 
this work is limited. And if, on the other hand, we should 
desire to form combinations for expressing certain states of 
mind, we can never be at a loss, after a description of the 
individual functions, to join those which are necessary for 
the full expression of emotion or thought. 

From a review of this subject, of the vocal signs of the 
passions, and a reference to the small amount of their indivi- 
dual forms, compared with the vast variety of mental con- 
ditions, to be represented by them, we are struck with the 
disproportion between their respective numbers : at the same 
time that we learn, how a deficiency of the natural vocal 
signs is supplied in the work of expression. For in the — 

First place ; the same vocal sign is used for more than one 
sentiment : as in the large class, respectively denoted by the 
semitone, and by the downward intervals. 

Secondly ; some of those sentiments, which are generically 
represented by the same vocal sign, have yet their specific 
difference marked by the verbal sign, or the conventional 
language that describes them : as where the downward oc- 
tave expresses equally command, and astonishment ; the 
difference in the sentiment being denoted by the word of 
50 



394 MODE OF INSTRUCTION IN ELOCUTION. 

command, and the declaration of the sentiment of astonish- 
ment. 

Thirdly ; there is a large number of sentiments which 
have no natural vocal sign, but which depend, for their ex- 
pression, altogether on the descriptive language in which 
they are conveyed : thus there are no vocal signs by which 
a speaker can inform us, even if he would, of his avarice, 
his vanity, his envy, or his remorse. They must be shown 
in action, or be confessed by the syntax of his words. There 
are indeed resources enough in the possible combinations of 
all the vocal signs, to furnish an expressive symbol for every 
thought and feeling ; but this full ordination has never been 
made. 



SECTION XLVIII. 

Of the Mode of Instruction in Elocution. 

We have thus far set before the eye of philosophy a copy 
of the designs of nature, in the construction of human speech. 
It is necessary, if we may still carry on the figure, to furnish 
at the same time a * working plan,' to him who may wish to 
build up for himself a fame in Elocution. 

If the reader is one of those, who from disappointment in 
higher hopes, have at last resolved to receive their station in 
life, through the suffrages of ignorance ; and who in their ac- 
complishments are careless of rising above the discernment 
of their constituents, let him pass by this section. A little 
will serve his purposes ; and the instinct of his ambition, 
without the wise designs of human assiduity, will enable 



MODE OF INSTRUCTION IN ELOCUTION. 395 

him to be, easily, the file-leader of his herd. But if he be- 
lieves in that fine induction of the Greeks, that ' good 
things are difficult ;' if he sees the successful pretender, still 
restless and dissatisfied, in having made captives only of the 
ignorant ; if he desires to work for high and hard masters, 
and to take his ultimate repose by the side of their ever- 
during approbation, he may receive from the following pages, 
some assistance towards the accomplishment of his resolu- 
tion, to acquire the art of Reading Well. 

Can Elocution be taught 1 This question has heretofore 
been asked through ignorance. It shall hereafter be asked 
only through folly. 

The sceptics on the subject of the practicability of teach- 
ing elocution, appear under three classes. To the first be- 
long those, who knowing that the ways of the voice have 
never been traced, believe they never can be reduced to as- 
signable forms. This opinion is grounded on the idea that 
the expressive effects of speech proceed from some occult 
quality ; which however, is neither high nor low, loud nor 
soft ; nor in short, any of the known and appreciable modes 
of sound. They who thus confuse the plain revelation of 
nature, seem to have just such an idea of vocal expression, 

as school girls have of the expression of the countenance, 

That it is not a palpable effect of the physical form of the 
face, in its state of rest, and in its various motions ; but — a 
kind of immaterialism, which darts from the eye, and breathes 
from the lips; a 'soul,' as it were in the face, which is yet, 
in the words of the song, — ' neither shape nor feature.' 

The scepticism of the second class promulgates the 
idea, that accomplishments in elocution are the result 
of certain indescribable powers of genius, and that the 
happy possessor of them is the production of one of na- 
ture's ' moments of enthusiasm.' Such sleight of tongue, 
to hide the plain agency of natural causes, is not dis- 
dained even by some who possess attributes sufficient to 
set them far above all stale-grown tricks for reputation. 
He who has great powers in an art, knows well that he is 



396 MODE OF INSTRUCTION IN ELOCUTION. 

distinguished from the thousands that surround him, by his 
industry, and his singleness in purpose and zeal : nor does 
he withhold instruction, in the fear of creating rivals, since 
he persuades himself that, if necessary afterwards, he can 
always excel them. 

Those who constitute the third class are too intelligent to 
believe in this mystical doctrine of the inspiration of genius ; 
yet they hold that the art of reading well can be taught 
only by imitation. Elocution may indeed have furnished 
instances of some great ends being attained, without a know- 
ledge of all the nicety of means ; and this may prove that it 
is less important and practical to direct another what he 
should do, than to give him an example of it. But the ana- 
lysis which has been made, will now enable a teacher to 
give the memorable description of what is to be done ; and 
thereby to furnish the pupil with the durability and com- 
prehensive purposes of precept, as well as with the necessary 
but transient benefit of example. 

These are some of the objections, made against an at- 
tempt to teach the uses of the voice, by systematic and 
communicable principles. We will not confer importance 
on them by refutation. In so doing we should only record 
some vain opinions of this age, which a future one need 
not know. At the present time let us not be concerned if 
the analysis in this essay, and the scheme of instruction 
founded upon it, should be to the old school of mystagogues 
and imitators, ' either a stumbling-block or foolishness.' 

The preceding history furnishes materials for raising elo- 
cution to the condition of a science : and we must look to 
the comparisons, and conclusions of taste, for rules to direct 
the use of these materials. Our analysis will not only afford 
the means of reducing the arbitrary fashion of the voice, to 
something like that standard of general principles, to which 
the other fine arts have been already brought : but it opens a 
new field on the subject of instruction. All arts which have 
been separated into their elements, have been recomposed 
into grammatical schemes for teaching by those elements : 



MODE OF INSTRUCTION IN ELOCUTION. 397 

and it now becomes us to try what may be the advantages, 
as to economy of time, and precision of means, from follow- 
ing an elementary plan, in communicating a knowledge of 
the nature and uses of speech. 

Language was long ago resolved into its alphabetic ele- 
ments. Wherever that analysis is known, the art of grammar 
is with the best success, conducted upon the rudimental 
method. Now, if the expressive uses of the voice should 
be taught by this manner of resolution, the benefit to instruc- 
tion would be no less, than that which has resulted from the 
alphabetic analysis. We teach a child in this way, in order 
to make him acquaintod with the simple sounds of speech, 
and to give him a facility in the pronunciation of them ; 
surely there is no reason why a clear perception of the 
varieties of stress, of time, and of intonation, and the power 
of consciously employing them in current utterance, should 
not be acquired in a similar elementary manner. 

The art of reading consists in having all the vocal con- 
stituents, whether alphabetic, or expressive, under complete 
command, that they may be properly applied, for the vivid 
and elegant delineation of the sense and sentiment of dis 
course. I shall not in this section, consider the modes of the 
voice as expressive of feeling or thought: but shall describe 
the means for providing the material of speech, whenever 
thought or feeling may require its use. 

If I were a teacher of elocution, I would form into a didactic 
system, the mode of practice by which the analysis contained 
in this work was accomplished ; and would assign to my 
pupil a task under the following heads. 

Of Practice on the Alphabetic Elements. Notwithstand- 
ing we are all taught the alphabet, we are not taught the 
true elements of speech : I would therefore require the pupil, 
— to exercise his voice on the real constituents, as they are 
sounded in a strict analysis of words. In the present school- 
system of the alphabet, many vowels have no peculiar sym- 
bol, and nearly all the consonants are heard as syllables, 
not as elements. If b and k and 7, (and what is here said 



398 MODE OF INSTRUCTION IN ELOCUTION. 

will apply to all the consonants,) be sounded as respectively 
heard in 6-ay, and k-ing, and Z-ove, that is, if we pause 
after these several initial sounds have escaped the organs, 
we shall have the real elemental constituents of the syllables, 
instead of the compounds be, kay, and ell, as they are uni- 
versally taught. 

Let the first lesson then consist of a separate, an exact, 
and a repeated pronunciation of each of the thirty-five ele- 
ments, in order to ensure a true and easy execution of their 
unmixed sounds. But the pupil must be careful to pro- 
nounce, not the alphabetic syllable of the schools, but the 
pure and indivisible vocal element; however unusual, and 
uncouth, that sound may, in some cases, be to his ear. 

It may be asked, whether a careful pronunciation of 

words in which these elements, though combined, must still 
be heard, would not give the required exactness and facility! 
I believe it would not. When the elements are pronounced 
singly, they may receive a concentration of the organic effort, 
which gives them a clearness of sound and a definite outline, 
if I may so speak, at their extremes, that makes a fine prepa- 
rative for distinct and forcible pronunciation in the com- 
pounds of speech. And perhaps, no one who has neglected 
this mode of elementary practice, is able to give the guttural 
murmur of b, d, and g, with that force, and fulness, and 
duration, which are required on occasions that call for the 
higher powers and graces of elocution. 

But there is one element, which may, by separate utter- 
ance, be improved to a degree that cannot be reached in the 
conjoined mode of pronunciation. It is the sound of r. 

The element r is a modification of the vocality of the sub- 
tonics ; and denotes two different articulations. One is 
made by a simple contact of the tongue with the roof of the 
mouth; the other by its quick percussion against that part. 
The r produced by the first organic combination, differs 
very little from the short tonic e-rr, and is called — the 
Smooth r. That formed by the percussion may be called — 
the Vibrant r. It has a distinctness of character and a body 



MODE OF INSTRUCTION IN ELOCUTION. 

of sound, not possessed by the other : and if the metaphor 
can be appreciated, the parts concerned in its formation, 
seem to have a firmer grasp of the breath. But it must be 
borne in mind that this Vibrant r, even with its vigor, and 
its satisfactory fulness, will be agreeable only when it con- 
sists of one, or at most, two or three strokes and rebounds of 
the tongue : for should it become a continued vibration, the 
effect will be offensively harsh, if not expressly designed for 
a rough or energetic utterance. The perfect r for the pur- 
poses of distinct and impressive speech should consist of a 
single slap and retraction. It can be made in this manner : 
but it must be done through long trial, on the solitary 
element. 

Besides the difficulty of acquiring strength and accuracy 
in this separate pronunciation, there are combinations of the 
r with other elements, which can be effected in an agreeable 
manner, only after long practice. It is obvious, that the 
subtonics and atonies, which employ the tongue, will not 
readily unite with an element, requiring a quick remove of 
that member to another part of the mouth, even when the r 
is produced by the simple pressure of the tongue. But the 
difficulty of transition is much increased, by the velocity 
necessary for the Vibrant r. Let us, for instance, suppose 
a syllabic step from d to r, as in the word dread. Now, 
as the formation of d, requires the tip of the tongue to be 
applied to the upper fore-teeth, if the r is taken smoothly, 
the union of these contiguous elements may be made with- 
out much effort, by retracting the tongue to its place for 
forming the r. But should we wish to roughen the word 
by the Vibrant r, the tongue is to be removed from the 
teeth, and brought down towards its bed, in a kind of draw- 
ing-off, for the purpose of making a sudden impulse against 
the roof of the mouth : and it requires both exertion and 
skill, to accomplish these successive movements with the 
quick coalescence which syllabic utterance requires. 

There is also considerable difficulty in the attempt to unite 
the Vibrant r with some of the tonics ; and the cause is 



400 MODE OF INSTRUCTION IN ELOCUTION. 

analogous to that which is operative in the above described 
combination. 

When the Vibrant r is set before the tonics, the coales- 
cence is easy, but it is not so when it follows certain of these 
elements. If the tonics are of long quantity, there is only 
the slightest difficulty; as in glare, war, far, peer, mire, 
our, your. But if the natural short-tonics e-rr, e-nd, and 
i-u, and most of the other tonics, when pronounced short, 
precede the Vibrant r, there is not only a considerable 
hiatus, but a change of the elemental sound takes place : and 
that peculiar aspirated utterance is heard, which forms one 
of the characteristics of speech in the natives of Ireland. 
This will be perceived, upon pronouncing the following words 
with the Vibrant r : interpreter, world, irritate, intercourse. 
The cause of the difficulty, and of the change of sound, will 
appear in the following explanation. 

The tonic sounds, though in greater part laryngeal, are, in 
some cases, modified by the agency of the tongue and lips. 
When their formation is observed with respect to the first of 
these organs, it will be seen that they employ it in varying 
positions, from the deepest depression in its bed, till nearly 
in contact with the roof of the mouth. The place of the 
tongue in the utterance of a- we, is the lowest: and the 
highest in ee-\, e-nd and z'-n. Now, if the tongue be de- 
pressed, whilst the effort in these three last instances is going 
on, it will be perceived that the short tonic sound is cor- 
rupted into a semi-aspiration. When a-we precedes the 
Vibrant r, the tongue is in a proper position to make its 
percussive impulse : and the combination is both easy of exe- 
cution and agreeable in effect. 

If however, a short tonic element is followed by r, it is 
necessary to depress the tongue, to give it some starting- 
way, if I may so speak, for the purpose of gaining the velo- 
city of percussion : and the aim to effect this, in the quickest 
time, produces the strained effort of pronunciation. But 
with every endeavor, there is still a perceptible interval be- 
tween the change from the lowest position of the tongue, to 



MODE OF INSTRUCTION IN ELOCUTION. 401 

that of its contact with the roof of the mouth. And as there 
is no call to arrest the vocality during this time of the change, 
the depression of the tongue, for effecting the percussion of 
the r, converts that vocality into a partial aspiration, agree- 
ably to what was said above. This mingling of aspiration 
with the sound of the short tonic, and of the r, produces 
the disagreeable effect perceived in the utterance of these 
conjoined elements. 

The difficulty of executing the r, under the circumstances 
above-mentioned, will, I fear, be insurmountable to those who 
are not persuaded, that the perfection of all their accomplish- 
ments must at last be measured by their ingenuity in the 
contrivances of trial, and the enterprises of their unwearied 
practice. Those who know that fruitful ambition is the 
growth of wise docility of mind, and heartfelt resolution, 
have only to learn that it is within the capabilities of time 
and exertion. How long it may take to overcome the diffi- 
culties here alluded to, must depend on natural facility of 
organ : nor need it be told to those who deserve instruction, 
and will have success. To such spirits, it is enough that it 
may be done. 

An exact pronunciation of the elements according to the 
standard of the day, is not a matter of importance, merely 
as regards formality of fashion; it has a claim of greater 
dignity. 

When ideas are to be communicated with precision and 
strength, it should be by well-known words. They should 
not be peculiar or striking by length, nor by hiatus of utter- 
ance. There should be no remarkable contrast between 
them ; no attractive similarity in their sound ; nor indeed 
any thing in the language which might allure attention from 
the idea conveyed by it. A writer who frequently employs 
uncommon words, never has vividness or strength of style. 
To ensure the utmost perfection of these qualities, sounds 
should slip into the mind, without the notice of the ear. Now 
what is here said on the distractions produced by the novelty 
of words, applies equally to the pronunciation of the alpha- 
51 



402 MODE OF INSTRUCTION IN ELOCUTION. 

betic elements; for the least deviation from the assumed 
standard converts the listener into the critic : and it is per- 
haps speaking within bounds to say, that for every miscalled 
element in discourse, ten succeeding words are lost to the 
greater part of an audience. 

I have therefore recommended a long continued practice 
on the separate elements, with a view to acquire that com- 
mand which will not only contribute to the elegance of 
speech, but at the same time, may help to remove all obscu- 
rity from the vocal picture of sense and passion. 

Of Practice on the Time of Elements. Enough has been 
said in former pages, on the necessity of a full command 
over the time of utterance, in order to effect the high pur- 
poses of elocution. 

When a true pronunciation of the elements is acquired, 
the pupil should not, according to the usage of the primer, 
pass at once to their combinations. They are employed in 
speech under different degrees of duration : and an exercise 
of the voice, through all the modes of quantity, upon indivi- 
dual elements, is on this subject, equally with that of the last 
head, productive of a skilful management, which cannot be so 
well or so easily effected, by practice on the common current 
of discourse. Let the pupil then consider the alphabetic 
elements as a kind of gamut, on which he is to learn not only 
the names of the notes, but all their varieties of time. The 
power of giving well measured length to syllables is so rare 
among speakers, and so difficult to acquire, that I was in- 
duced to draw attention to this elementary mode for facili- 
tating the attainment of it. 

The prolongation of the atonies is of little consequence. 
But let the student reiterate his practice on the tonics and 
subtonics, until he finds himself possessed of such a command 
over them, that he may, at will, give any required quantity 
to their syllabic combinations. 

It may be particularly remarked that the elements b, d, 
and g, admit of a slight degree of quantity, through the pro- 
longation of their guttural murmur: but a strenuous practice 



MODE OF INSTRUCTION IN ELOCUTION. 403 

is necessary to render it applicable to the purposes of ora- 
torical time. 

When r is to be prolonged, and the rapid iteration would 
be inappropriate, the smoother form of the element is to 
be employed ; since the perfect percussive r, made by a 
single stroke and rebound of the tongue, is necessarily short. 

The element s, when alone and prolonged, is a sign of 
contempt. In syllabic combination it is offensive if much 
extended in quantity. When made in its shortest time it 
does its part in speech, and loses much of the character 
of the hiss. Let the pupil therefore practise the shortest 
quantity on this element, by abruptly terminating the 
breath, or by separating the teeth at the moment its sound 
is heard ; for this at once cuts it short. 

Of Practice on the Vanishing Movement. The consider- 
ation of this point should have been united with the last. 
For if an attempt to prolong the elements be made without 
reference to the equable concrete of speech, it will be very apt 
to run into the note of song. The difference between these 
two modes of intonation is readily perceptible to a musical 
and attentive ear, even when made upon a single tonic, by a 
comparison of their respective effects with the well known 
impressions of current speech, and of song. Let each indi- 
vidual act of intonation be assumed as the first of a series : 
if it be the equable concrete, it will not seem to be the be- 
ginning of a song. The pupil then, without confusing his 
ear by other particulars, should exercise himself in the natu- 
ral radical and vanish, on all the extendible elements. An 
unerring power of execution in this function, however long 
the quantity may be, will always ensure to speech, an entire 
exemption from the characteristic of song. 

In this elementary intonation of the equable concrete, par- 
ticular attention should be paid to the structure of the van- 
ish. The pupil must therefore endeavor to give it that deli- 
cate expiration which may render its limits almost imper- 
ceptible. We often lean the ear in delight, over this smooth 



404 MODE OP INSTRUCTION IN ELOCUTION. 

breathing of sound into silence, by singers : and the master 
in elocution shall hereafter know, that one of those graces of 
speech which he could never name, and thought * beyond 
the reach of art,' consists in that attenuation and close of 
the syllabic impulse which are here recommended as a 
lesson for a school boy. 

Of Practice on Force. It is scarcely necessary to say how 
loudness or strength of voice is to be acquired. It is not es- 
sential in discipline that the elements should be uttered se- 
parately with regard to force : since after the other accidents 
are brought under command, the exercise on loudness may 
be effected during the current of discourse. Still the ends 
of instruction would be somewhat easier attained by the 
elementary process in this particular. Few persons are 
aware of the influence that loud speaking or vociferation has 
on the quality of the voice. We have already learned, that 
it is one of the artificial modes of producing the orotund. It 
takes the voice from its meagre mincing about the lips, and 
transfers it, at least in semblance, to the back of the mouth, or 
to the throat. It imparts a grave fulness to its quality; and by 
creating a strength of organ, gives confidence to the speaker 
in his more forcible efforts, and an unhesitating facility in all 
the moderate exertions of speech. 

Of Practice on Stress. Though the mode of elementary 
exercise on loudness may not be required, I must urge its im- 
portance, upon the subject of stress. There is a nicety of 
analysis in this matter, which will be definitely recognized, 
and consequently can become familiar, only through the de- 
liberate practice and unembarrassed observation, afforded by 
trials on the separate elements. 

It was said formerly that the radical stress is made with 
emphatic strength only on the tonics; still, an attempt to per- 
form this function on the subtonics is not to be entirely 
neglected. The full power of the radical abruptness is ob- 
tained by opening the elements into utterance with a sort of 
coughing explosion. 



MODE OF INSTRUCTION IN ELOCUTION. 405 

For the median stress or swell, no particular direction is 
required. It is generally employed on the wave, and is 
therefore connected with exercise on pitch. 

The vanishing stress may be practiced, by assuming in 
speech something like the effort of hiccough, for the wider in- 
tervals of the scale; and something like sobbing, for the 
minor third and the semitone. 

It is not necessary to speak of exercising the voice on the 
compound stress, the thorough stress, and the loud concrete. 
These are indeed, philosophic points, but they are of little 
importance in a practical view. 

Of Practice on Pitch. The scale of pitch which is used 
in this essay, is that long ago formed and named in music. 
Its several forms were described in the first section. The 
order of its proximate intervals and the span of its wider 
transitions, must be learned from an instrument, or from the 
voice. With a few days attention to the effect of the vari- 
ous rising and falling movements on the keys of a piano-forte, 
a pupil who has the least musical ear, will be able to execute 
the same successions in his voice, and thus to recognize the 
concrete pitch and the change of the radical, when they are 
made on elemental or syllabic utterance. 

When the pupil has passed this preliminary step, I would 
have every interval of pitch, both by concrete movement, 
and by radical change, practiced on every tonic and sub- 
tonic element. The semitone is easily taught ; and the 
scholar may always execute this interval by affecting a 
plaintive utterance. Let him devote some time to putting it 
through all the elements, and he will thereby render it 
readily obedient to the sentiments which require its expres- 
sion. 

I must negatively describe the effect of the simple and un- 
colored interval of the second, by saying, — that it is not the 
semitone, nor minor third, with the plaintive character of 
which we may now suppose ourselves well acquainted : — nor 
is it the rising third, or fifth, or octave, also well known as 
the sign of interrogation ; — nor any of the downward move- 



406 MODE OF INSTRUCTION IN ELOCUTION. 

ments of positive declaration and command ; — nor the wave, 
with its admiration, surprise, mockery and sneer. If then, 
in syllabic utterance, we produce none of these effects, we 
may conclude that we have gone through the simple second 
of the plain diatonic melody. Let the pupil practice this 
interval on all the tonics and subtonics, and he will be 
always able to command the constituent of this plain melody ; 
nor will he be in danger of infecting its appropriate charac- 
ter by the whine of the semitone, the sharp inquisitiveness of 
the fifth and octave, or with the more offensive affectation of 
the wider forms of the wave. 

That the pupil may ascertain when he is executing a 
downward interval, let him familiarize his ear to the effect of 
the last constituent of a cadence, consisting of a gradual de- 
scent upon three distinct syllables. This will give him the 
character of the falling second: and if he studiously repeats 
the tonic and subtonic elements with reference to this move- 
ment, he can create nearly as clear a perception of the pe- 
culiarity of the interval, as he has of the sounds of the 
elements themselves. When prepared with this downward 
vanish, he may contrast it with the rising second, and thus 
soon become acquainted with the audible character of each. 
Upon knowing the second, the wider falling intervals may 
be easily recognized, by continuing the downward progress, 
till the intonation assumes the expression of command : the 
extent of the downward movement through a third, or fifth, 
or octave, being proportional to the less or greater degree of 
that sentiment. When these intervals have become familiar, 
let them be compared with the wider intervals in a rising 
direction. The difference between the intonation of a ques- 
tion and of a command, will thus be manifest. 

Let the pupil, in going through the elements, play upon 
them in the movement of the wave. His practice here must 
be governed by his perceptions of the simple intervals which 
variously compose its different kinds. The wave of the 
second is of great importance, in the grave and dignified cast 
of the diatonic melody. I cannot by any graphic sign or 



MODE OF INSTRUCTION IN ELOCUTION. 407 

by direct description bring this function before the reader's 
attention : but in giving prolonged quantity to indefinite syl- 
lables, if the effect of the upward or downward wider inter- 
vals is not recognized, — nor the peculiar note of song; — nor 
the marked impression of the wider waves, — nor that of the 
plaintive semitone, it may be concluded that the voice is 
moving in the wave of the second. 

Of Practice on Melody. One of the most difficult things 
regarding intonation, is the perception of the radical changes 
of the second, in the progression of the current melody. If 
the pupil has a musical ear, he may easily acquire the habit 
of varying the several phrases in the manner formerly men- 
tioned. Should he not have a nice perception of sound, nor 
ingenuity in experiment, he must learn the diatonic progres- 
sion from the voice of a master. 

The flow of melody cannot be made on single elements, 
therefore the practice under this head, must consist of exer- 
cise on connected syllables. The best method is to select a 
portion of discourse, to keep in mind the diatonic manner in 
which it should be read, and yet to pronounce only the tonic 
element of each syllable. In this case, the ear not being 
embarrassed by the subtonics, the difference between rise 
and fall in radical pitch, will be more apparent, and conse- 
quently the power of avoiding monotony, and of mingling 
all the phrases in an agreeable variety, more easily attained. 

Of Practice on the Cadence. The cadence is an import- 
ant part of the melody of speech : and readers being there- 
in liable to frequent and to striking faults, the subject re- 
quires deep and discriminative attention. Here particularly 
the elementary practice is to be employed; in which the 
pupil should bear in mind the different modes of intonation 
for terminating a sentence, and should exercise his voice 
separately on one, on two, or on three elements or syllables, 
considered as a close. 

If the application of the various species of the cadence be 
made with attention to their mode of construction and effect, 
the command over intonation in this particular, will be more 



408 MODE OP INSTRUCTION IN ELOCUTION. 

completely acquired than when the aims of the pupil are 
confused, by the ordinary system of imitative discipline. 
After the proper time has been devoted to the plan here re- 
commended, a speaker will find himself provided with an 
ample fund for variety in his periods ; nor will he be likely 
to incur difficulty or awkwardness in the execution of them. 

Of Practice on the Tremor. The tremulous movement 
is one of those functions which should be practised on indi- 
vidual elements. With a knowledge of its nature, the 
scholar may correct himself in his task, and finally acquire 
that accuracy which is essential to this expressive species of 
intonation. , 

It is true, the habit of laughing and crying does here fur- 
nish a wide field of practice ; but it is to be recollected that 
we laugh and cry in a natural way, for our own delight or 
relief. But when the tremulous expression is employed to 
affect an audience, governed in its taste, as it may come to pass 
hereafter, by the same knowledge and principles that here 
direct us, it should be done, not only according to the senti- 
mental dictates of nature, and within the pale of her truth, 
but also with that refinement of feeling, and finish of execu- 
tion, which nature herself may never find purpose enough 
to accomplish ; though she may be ready to acknowledge 
their entire consistency with the spirit of her laws. 

Of Practice on Quality of Voice. Quality of voice is 
capable of improvement ; and the practice in this case may 
be either on the elements, or on the current of discourse. 
But as the quality is most perceptible on the tonic sound of 
a syllable, perhaps the elementary mode is the best plan for 
instruction. In whichever way the improving exercise is 
conducted, by it, harshnesss of quality may be somewhat 
softened : a husky voice may be brought nearer to pure vo- 
cality; the piercing treble may be reduced in pitch, and the 
thin and meager voice endowed with greater fulness and 
strength. 

There is, however, a cause of deception on this subject, 
which deserves to be noticed here. 



MODE OF INSTRUCTION IN ELOCUTION. 409 

The characteristic qualities, or, as they are called, the dis- 
tinguishing ' tones,' of the voice, are said to be unlimited, 
and like the face, peculiar to each individual. We do not 
indeed often confound the several voices of persons whom we 
have heard, however numerous they may be : but the dis- 
tinct recognition is here made upon the combination of the 
accidents of force, pitch, and time, rather than on the single 
point of quality. Thus one speaker is characterized by a 
constant use of the vanishing stress ; another by that of the 
radical; one employs the interval of the third in the current 
melody, instead of the second ; some exhibit a general pre- 
dominance of long, — others, of short quantities. And thus, 
by permutations of these features, an almost infinite num- 
ber of faces, is given to the body of our speech. 

There are as many varieties of Quality, as of any one of 
the accidents, and more than of some ; the amount, however, 
falls far short of the almost endless combinations of the varie- 
ties of the several accidents with each other. 

We may learn that the quality of a voice is not always its 
distinguishing mark, by attending to the prolonged note of 
song; for it gives quality alone. In forming a judgment 
from this simple sound, exclusive of any peculiarity of stress 
or intonation, it is not easy to distinguish voices which would 
be widely different when heard through a single sentence in 
speech. Of the speaking voices of a thousand persons, near- 
ly every one would be different, through the varied combina- 
tion of their constituent modes. But if the same voices 
were severally to be designated by a single prolonged note 
of song, the differences might be reduced to a few classes. 
There would be loud and soft voices heard among them, 
shrill and bass, clear and aspirated, harsh and clear, full and 
meager, dull and ringing : and to these a few others might 
be added. Yet even these would, in some cases, be distin- 
guishable only by a cultivated ear ; so that of the whole 
thousand, above supposed, perhaps not more than twenty 
points of recognition could be found, to constitute twenty 
kinds of quality. 

52 



410 MODE OF INSTRUCTION IN ELOCUTION. 

Of the orotund as a kind of voice, we spoke in a former 
section ; and described there, the mode of managing respira- 
tion, by which the fulness, power, and grave quality of this 
voice may be attained. It may, perhaps, assist the reader to 
discover that he is using the proper means for acquiring the 
orotund, by stating, — that the voice in this case, is apt to 
change into what we formerly called the basso-falsette ; thus 
producing that ' double-lung' kind of speech, which consists 
of mingled bass and treble. 

Of Practice in Rapidity of Speech. Extreme rapidity 
of speech may be employed as a means for obtaining a com- 
mand over the uses of the voice. The difficulty, in this 
case, of making transitions from one position of the organs 
of articulation to another, requires an exertion which tends 
to increase the strength of those organs, and consequently 
enables them to perform all moderate progressions, without 
effort or hesitation. I would recommend the utmost possible 
precipitancy of utterance ; taking care not to outrun the 
complete articulation of every element : and this makes it 
advisable to set the lesson on some discourse which has long 
been fixed in the memory, that there may be no embarrass- 
ment by the distracting effort of recollection. 

There is not much advantage to be derived from elemen- 
tary practice on Aspiration, the Emphatic vocule, and Gut- 
tural vibration. The exact and forcible execution of these 
functions does not require that exclusive attention which the 
rudimental system of practice is meant to secure ; nor is 
there any thing to be effected thereby, which may not be ac- 
complished in the current of discourse. 

We have thus enumerated both the articulative, and the 
expressive constituents that form the whole assemblage of 
speech. The only question, upon the mode of instruction to 
be employed, is — whether we should aim to acquire a full 
power over these constituents, from their union in current 
discourse, or from a separate and repeated practice on their 
individual forms. 



MODE OF INSTRUCTION IN ELOCUTION. 4H 

It is needless to propose arguments in favor of the analy- 
tic and elementary system to those, who, from the habit of 
acquiring the sciences, have formed for themselves economi- 
cal and effective plans of inquiry. It is well for all others 
to take opinion in this matter, for a while at least, upon faith ; 
and to know that the only reason why elocutionists have 
never employed this mode, is because they have been igno- 
rant of the subdivided functions of speech. There are too 
many examples in science, of the useful application of the 
result of analysis to the purpose of rudimental instruction, 
to suppose that the same means would not have been adopt- 
ed in elocution, if they had been within reach of the master. 

Not to cite instances from those graver studies which pro- 
ceed by the synthetic steps of elementary principles; and 
with no intention to shame the ' genius' of an elocutionist 
and his grammar of imitation, let us go to the Ring, and see 
the Science of muscular attack and defence, an over-match 
for the best efforts of strength and passion when undirected 
by gymnastic skill. The * fancy' have really made no slang- 
like or degrading application of the word. Science, as we 
usefully regard it, does no more than lay down, for art, those 
efficacious rules, which sagacity has drawn from observation 
and trial : and though it may not always ennoble what it 
touches, it does take from it, that characteristic of brutality, 
which consists in the instinctive execution of what is not 
understood by the agent. Yes, even the Pugilistic Art, low 
in purpose, yet skilful as it is, has, thus far, outstript the 
philosophic efforts of Elocution ; and has claimed for its di- 
rective principles, the justifiable name of science. And 
believe me, reader, that the elementary training in its posi- 
tions and motions, carries not more superiority over the 
untaught arm, than the definite rules of elocution, founded 
on a knowledge of the nature of the voice, will have over 
the best spontaneous achievements of passion. 

Let me not be misunderstood on this point. I do not say 
that instruction can create the essential powers of a speaker: 
but I know it can improve and direct them. ' Passion,' says 



412 MODE OF INSTRUCTION IN ELOCUTION. 

a writer, ' knows more than art.' It may know more than art. 
But art, like prudence, sometimes knows better than passion. 
A display of the passions in recited discourse, is not al- 
ways addressed to those who are under the sympathetic 
influence of those passions. When it is, or when, at mo- 
ments, the speaker can raise that sympathy, all is right that 
passion does. When, however, we are in that state of de- 
liberation which contemplates what passion should be, there 
arise such comparisons between what we feel ourselves, on 
the different occasions of excitement, and what we observe 
in others when under the influence of it, that we are obliged 
to call up from taste, some ideal rule to settle an uncertainty 
of opinion. 

We look for no more, from a well devised practical system 
of elocution, than we are every day receiving from established 
arts. All men speak and reason, for these acts are as natu- 
ral as passion ; but the arts of grammar, rhetoric and logic, 
teach us to do these things in the best manner. In short, 
doing them in the best manner is signified by the name of 
these arts. 

The subject of elementary instruction, may be regarded 
under another aspect. There is in man a will, with a sys- 
tem of muscles which the common calls of exercise render 
obedient to that will. Now there is scarcely a boy of physi- 
cal activity or enterprise, who does not, on seeing a Posture- 
master, set himself, in some way, to imitate him ; to catch 
and keep the centre of gravity through the varieties of ba- 
lance and motion. Yet this will not prevant a failure in his 
first attempts, however natural the tie between his will and 
his muscles may be. For without long experience, he knows 
not what is to be done ; or if he knows, he is unable without 
long practice, to effect it. And thus, there are many persons, 
not destitute of feeling or passion, who have a free command 
of the voice, on the common occasions of life, but who betray 
a faltering tongue if they attempt to imitate the varied power 
of the habitual speaker. When the voice is prepared by ele- 
mentary and by systematic practice, the feeling which 



MODE OF INSTRUCTION IN ELOCUTION. 413 

prompts expression will find the confirmed and pliant organ 
ready to effect a satisfactory and elegant accomplishment of 
its designs. 

The organs of speech are capable of a certain range of ex- 
ertion : and to fulfil all the demands of a complete elocution, 
they should be carried to the full extent of that capability. 
Those persons who possess both active and delicate feelings, 
and who exercise themselves in recitation, are always ap- 
proximating towards this utmost play of power in the voice, 
by the ordinary mode of instruction; and do in a course of 
years effect nearly all that the organs are susceptible of. 
But the elementary mode here proposed, being founded on 
an analysis of speech, at once points out to the pupil what 
is to be attained, and thus invites him to the fulfilment of 
every vocal possibility. 

It was not until long after the invention of the bow for the 
touch of stringed instruments, that its use was subjected to 
accurate observation. A few belonging to that class of man- 
kind who find out, for themselves, the best way to effect 
their object, may have exhibited rare instances of skill in its 
management. But as soon as inquiry had made something 
like an analysis of their dexterity, the master was able to 
point out to the pupil the muscular sleight of wrist and arm 
which its handling requires; their combined and successive 
motions ; together with that full feeling of the will, as it 
were, present in the muscle, which ensures undeviating 
steadiness in every sweep, and gives the power of a sort of 
conscious spasm for the purpose of a momentary touch. 
When these points were ascertained, instruction began to 
adopt the economy of elementary rules ; and velocity, pre- 
cision, smoothness, and variety of execution, became common 
accomplishments in the art of Bowing. 

When an attempt is made to teach an art, without com- 
mencing with its simple elements, combinations of elements 
pass with the pupil for the elements themselves, and holding 
them to be almost infinite, he abandons his task as hopeless. 
An education by the method we are here recommending, re- 



414 MODE OF INSTRUCTION IN ELOCUTION. 

verses this disheartening duty. It reduces the seeming 
infinity to computable numbers ; and I have supposed that 
one of the first comments on the foregoing analysis, may 
refer to the unexpected simplicity of means, employed by 
nature to produce the unbounded permutations of speech. 
Nay, this essay itself will fare better than other similar 
efforts in science, if some of the perishing criticism of the 
day should not find good reason with itself, for overlooking 
the difficulty of penetrating and tracing that mysterious 
thicket of speech to its palpable roots, by being told how 
few and how accessible they are. 

In speaking of the best mode of instruction in elocution, I 
refer to that which produces the highest end and utmost finish 
of utterance. Any kind of speech, which does not mistake 
the price, will serve for buying and selling. But where the 
powers and beauties of the voice are made the subject of 
reflection and taste, it becomes necessary to employ the most 
comprehensive and precise means for its cultivation. It 
would be possible, even without regard to the alphabet, to 
teach a savage, by making him follow a master in reading 
current discourse. And thus speakers have been taught by 
a similar process of imitative instruction. But the atten- 
tive reader must now know, with me, and others may know 
hereafter, that the analysis of words into their alphabetic 
elements, and the rudimental mode of teaching instituted 
thereupon, do not give more facility, in the discriminations 
of the eye on a written page, than the mode here proposed 
will afford to the student of elocution, who wishes to excel in 
all the useful and elegant purposes of speech. 

Let the master and his scholar, or his whole school, meet at 
first, without their little books ; the master having the great 
Book of Nature in reserve, but all got well by heart. Let the 
master then exemplify the graceful gliding of the vanish, with 
the effect of the second and other intervals of pitch. Let him 
make the scholar sensible of the difference of these intervals 
by separate and compared utterance. Let him show the 
peculiarities of a rising and of a failing movement — of the 



MODE OF INSTRUCTION IN ELOCUTION. 4] 5 

waves; — of the diatonic, and the chromatic melodies; — of 
the cadences ; — of the stresses ; — in short let the lessons con- 
sist of his illustrations of every constituent function of 
speech. Let the scholar practise all this when he retires; 
and on returning to his master, let it not be to hear him 
read, and vainly try to imitate him, but to repeat his ele- 
mentary task, through all the available modes of the voice. 
When he is completely familiar with these rudiments, then 
let him begin to read with his master. 

If high accomplishment in elocution be an object of 
ambition, the system of instruction offered in this section, 
will furnish the easiest and shortest means for success. 

After all that has been said, the best contrived scheme will 
be of little avail, without the utmost zeal and perseverance 
on the part of the learner. It is an impressive saying by an 
elegant genius of the Augustan age, who drew his maxim 
from the Greek Tragedy, and illustrated it by his own life 
and fame, — that ' nothing is given to mortals without inde- 
fatigable labor :' meaning thereby that — those works which, 
from their rare and surpassing merits, are supposed to pro- 
ceed from a peculiar endowment by Heaven, are in reality, 
but the product of hard and unremitting industry. 

It is pitiable to witness the hopes and conceits of ambition, 
without the accompaniment of its requisite exertions. The 
art of reading well is one of those accomplishments which all 
wish to possess, many think they have already, and some 
set about to acquire. These, after a few lessons with an 
Elocutionist, and no toil of their own, are disappointed at 
not becoming themselves at once masters of the art ; and 
abandon the study, for the purpose of entering on some new 
subject of trial and failure. Such cases of infirmity are in 
part a result of the inconstancy of human nature ; but they 
chiefly arise from defects in the usual course of instruction. 
Go to some, may we say all of our colleges and univer- 
sities, and observe how the art of speaking, — is not taught 
there. See a boy of but fifteen years, sent upon a stage, 
pale and choking with apprehension ; being forced into an 



416 RYTHMUS OF SPEECH. 

attempt to do that, without instruction, which he came pur- 
posely to learn; and furnishing amusement to his class-mates, 
by a pardonable awkwardness, which should be punished, in 
the person of his pretending but neglectful preceptor, with 
little less than scourging. Then visit a Conservatorio of 
music, — observe there the orderly tasks, the masterly disci- 
pline, the unwearied superintendence, and the incessant toil 
to produce accomplishment of voice ; and afterwards do not 
be surprised that the pulpit, the senate, the bar, and the 
chair of medical professorship, are filled with such abominable 
drawlers, mouthers, mumblers, clutterers, squeakers, chant- 
ers, and mongers in monotony : nor that the schools of sing- 
ing are constantly sending abroad those great instances of 
vocal wonder, who sound along the high places of the 
world ; who are bidden to the halls of fashion and wealth; 
who sometimes quell the pride of rank, by its momentary 
sensation of envy ; and who draw forth the intelligent curi- 
osity, and produce the crowning delight and approbation of 
the Prince and the Sage. 



* - ' »> SQS "" » - 



SECTION XLIX. 

Of the Bythmus of Speech. 

In the section on Time some allusion was made, in the 
course of argument, to the subject of Ry thmus. I endeavored 
then to show the circumstances under which stress and time, 
or as they are otherwise called, accent and quantity, pro- 
duce by their alternations the agreeable impressions of verse. 
I now offer a somewhat more formal account of this matter, 



RYTHMUS OF SPEECH. 417 

with the design to speak of the Rythmus of prose : and for 
the purpose of noticing, in as few words as possible, the in- 
genious system of Mr. Steele, on the subject of accentuation 
and pause : this being one of the first results, in modern 
times, of an inquiry into the philosophy of spoken language. 
As speech consists of a succession of accented and unac- 
cented syllables, Mr. Steele supposes all discourse to be sepa- 
rated into parts ; which being made in reference to accents, 
may be called Accentual sections. These he includes be- 
tween vertical bars, as in the following notation : 

7 In the | second | century | 7 of the [ christian | era | 

7 the | empire of | Rome | 7 compre | hended the | fairest | 

part of the | earth | 7 and the | most 7 ] civilized | portion of man | 
kind { 

The constructive principles of the accentual sections are 
these. The first syllable of each section is accented, that is, 
a bar is to be drawn before each accented syllable, or em- 
phatic monosyllabic word. But it appears in the fourth 
section of the above example, that a bar is drawn before the 
particle of, which is neither accented nor emphatic. In this 
case, and there are others like it in the example, the place of 
an accented syllable is occupied by a symbol, denoting a 
pause equal to the time consumed by a syllable when pre- 
sent. Each section is supposed to contain a heavy and a 
light portion ; the heavy being the accented syllable and the 
light the unaccented. If, in affixing the bar before a heavy 
syllable, there should be no following light one in the section, 
which happens when two accented or emphatic words im- 
mediately succeed each other, a pause must occupy its 
place ; as in the section consisting of most in the above ex- 
ample. When the first part of the section is an extendible 
quantity, the use of the subsequent pause may be superseded, 
by prolonging the accented word to the required duration of 
the section, as in the word Rome : for it is assumed in this 
system, that all the accentual sections are of equal time, 
like the bars in music. If the number of syllables, included 
53 



418 RYTHMUS OF SPEECH. 

between the bars, is so many as to require an improper 
precipitancy of utterance, in order to make the time of the 
sections equal, it becomes necessary to throw in a bar before 
the light syllables of that precipitate group, and to set a 
symbol of rest in the place which would have held the heavy 
or accented syllable, if the section had been entire. Thus 
in the example, we might say, | century of the | in one sec- 
tion ; but when the sentence is read deliberately this section 
is too long. It is better ordered in the example, by a subdi- 
vision, and by putting a slight pause in that place which 
should be occupied by an accented syllable. 

It will perhaps be asked here, — what is the meaning of 
these divisions ? And what useful purposes do they serve in 
instruction ? 

All the works on elocution before the time of Mr. Steele, 
recommended the accurate accentuation of words, and a 
strict attention to their separation, at the proper places for 
pausing. Mr. Sheridan indeed has given a notation for rhe- 
torical pause and emphasis. But he has proposed no scheme, 
to draw the attention of the pupil to the subject of accent. 
That this subject is of the utmost importance in the schools 
of elocution, will be admitted by those who have observed 
the manner in which children learn to read : for the close 
attention which their ignorance requires, and their slow ut- 
terance, lead them to lay an equal stress upon every sylla- 
ble, or at least upon every word. This habit continues a 
long time after the eye has acquired a facility in following 
up discourse; and in some cases infects pronunciation 
throughout subsequent life. The notation of Mr. Steele, 
which has a symbol for each degree of stress, (the symbol 
being omitted here,) would certainly obviate this tenden- 
cy, by furnishing the pupil with a guide to accentuation, in 
the absence of the master. I do not say that this object 
would not be attained, in a degree, by employing the com- 
mon mark of stress on all accented syllables : But even this 
is never done, and if it were, it would not be as definite as 
the conspicuous division by bars ; nor would it include the 



RYTHMUS OF SPEECH. 419 

indication of pause, together with other points enumerated 
in Mr. Steele's system. 

One of the objects of a scientific institute is to point out 
what is necessary in an art, even though it should not be 
able to direct the exact mode of executing it: and perhaps 
no person, who has looked into Mr. Steele's system of nota- 
tion, will hesitate to acknowledge that it has set the subjects 
of accentuation and pause in an entirely new light before 
him. 

This notation will not indeed inform us what syllables are 
to be accented or emphatic, nor where the pauses are to be 
placed : but it will enable a master, who knows how to order 
all these things in speech, to furnish his scholar with a visi- 
ble illustration of his task. If a boy is taught by this me- 
thod, he acquires the habit of attention to the subjects of 
accentuation and pause, which may be readily applied in or- 
dinary discourse. 

I have here gladly embraced an opportunity to notice the 
labors of Mr. Steele, who was among the first to shriek out 
at the incubus of ancient prosody, which has crouched so 
close on the bosom of his own, and of every modern lan- 
guage. It was not my intention to set forth the whole of 
this system, nor to vouch for all its points. It has able ad- 
vocates, and their works and lectures, both in this country 
and in Europe, render a design of this sort unnecessary from 
me. 

Mr. Steele's work is quite original, but it is not system- 
atic ; and his contradistinction of what he calls Poize, from 
the functions of time and stress, is altogether notional and 
cloudy.* I have taken this short and perhaps unsatisfacto- 
ry view of a part of his essay, merely as prefatory to the 
few following remarks on the subject of rythmus. 

The rythmus of language is — that perception which the 

* Mr. Steele first published his views, under the title, cited in the introduction 
to this essay. A few years afterwards he gave a second edition of his work, 
with the title of ' Prosodia Rationalist In this last, there is very little addi- 
tion to the former print. 



420 RYTHMUS OF SPEECH. 

ear has of a certain order of accent, quantity, and pause. 
Or in other words, — a certain succession of syllables, having 
different degrees of stress, or quantity, and this succession 
being divided into portions by pauses, constitutes that agree- 
able impression of the current of speech, to which we give 
the name of Rythmus. 

There are two modes of applying the alternate force and 
remission of stress, in the construction of rythmus. One 
proceeds by a regular repetition of the same order of ac- 
cents : as in Versification. The other, as in Prose, has no 
formal arrangement of its strong and weak, or long and short 
syllables. The doctrine of the order of syllables in verse 
constitutes what is called Prosody. This subject having 
been largely treated by authors, and being beyond the de- 
sign of this essay, we here pass it by, with the remark, 
that — if English prosodists will listen to their own lan- 
guage, when they undertake to analyze it, and forget what 
the old grammarians have said upon the subject of Time, 
which there are some reasons for believing that they them- 
selves did not understand, their science will be more intelli- 
gible, and their rules of practice more useful to the student. 

Though the broad distinction between prose and verse con- 
sists in the more irregular sequence of accent or quantity in 
the former : still they seem to compromise their differences 
to a certain degree, in their respective attempts at excel- 
lence. For the best poetic rythmus is that which admits 
occasional deviations from the current of accentuation : but 
these deviations do not continue long enough to destroy the 
genera] character of regularity ; the order returning before 
the ear has forgotten its previous impression. Prose on the 
other hand, is constantly showing the beginning of a regular 
rythmus : but before any series of accent or quantity has 
time to fill the ear with its method, the cross-purpose of a 
new succession destroys the order of incipient versification. 

The sources of variety, beauty and force in rythmus may 
be learned from the following general view of its construc- 
tion. 



RYTHMUS OF SPEECH. 421 

In ordinary pronunciation there may be several success-^ 
ive monosyllabic-words marked by the abrupt accent ; in 
which case there is necessarily a momentary pause between 
them : or there may be an accented syllable followed by one 
or more, but not exceeding six that are unaccented ; the 
average proportion being about one accented syllable to 
three unaccented. Hence it appears that the divisions which 
we have called accentual sections, and which are included 
between the vertical bars of Mr. Steele's notation, may con- 
sist of from one to five syllables, and with considerable care 
and skill in the effort, sometimes of six. Consequently, if a 
ry thmus were formed on the function of accent alone, a series 
of these differently constituted sections, would furnish the 
ground-work for considerable variety. Thus in the above 
example, the sections consist of from one to four syllables ; 
for the third and fourth may be thrown together by omitting 
the bar and the pause, without at all obscuring the sense : 
and these being arranged in varied succession, is one of the 
causes of the agreeable rythmus of that sentence. 

Perhaps the reader will not now deny, that the ear is as 
strongly attracted by quantity as by stress. When there- 
fore the former accident is employed in composition, the 
means of variety are multiplied. In the following sentence 
I have marked in italics, those syllables which make an im- 
pression by their quantity, and thus add dignity to the varied 
accentual rythmus. 

The masters of the fairest and most wealthy climates of the globe, turn'd 
with contempt from gloomy hills, assaiVd by the wintery tempest, from lakes 
conceal'd in mist, and from cold and lonely heaths, over which the deer of the 
forest were chased by a troop of naked barbarians. 

Besides the variety and impressiveness thus arising from 
stress and quantity, the rythmic effect is further diversified 
by including one or more accentual sections within the boun- 
dary of pauses. If the useful economy of the term, may be 
allowed, let us call the portions of discourse so formed, Pau- 
sal sections. They may consist of a single word : but the 



422 RYTHMUS OF SPEECH. 

structure of style, and ease of utterance, rarely admit of 
their containing more than twenty syllables. In the follow- 
ing example the pausal sections are included between the 
upright bars, that the order and variety of the succession 
may be surveyed by the eye. The bars designate merely 
the place of the pauses, in clear and impressive reading, 
without denoting the several durations of those pauses. 

It is gone j that sensibility of principle | that chastity of honor | which 
felt a stain | like a wound | which inspired courage | whilst it mitigated 
ferocity | which ennobled whatever it touched | and under which J vice 
itself | lost | half its evil J by losing all its grossness. | 

The agreeable effect of variety in the pausal sections, may 
perhaps be made more conspicuous by contrasting it with 
the monotony of the antithetic style. The following sen- 
tence exhibits, not the art, but the artifice of rhetorical con- 
struction. 

When I took the first survey of my undertaking | I found our speech | 
copious | without order | and energetic | without rules [ wherever I 
turned my view | there was perplexity | to be disentangled | and con- 
fusion to be regulated | choice was to be made | out of boundless variety | 
without any established principle of selection | adulterations were to be de- 
tected | without any settled test of purity | and modes of expression | to 
be rejected or received | without the suffrages of any writers of classical repu- 
tation | or acknowledged authority. | 

Such a measuring process, if used occasionally, may give 
variety to discourse. But when made the characteristic of 
composition, it indicates formality of ear, — makes mere 
arithmetic of speech, — and shuts out the strong lights of 
verbal delineation. There seems too, to be a want of dignity 
in this kind of rythmus ; and those who affect it, scarcely 
perceive how near they approximate to the principle of the 
ludicrous : for when its features are slightly surcharged by 
caricature, it really becomes so. The principle is that, of a 
resemblance in sound, with a difference in sense. The simi- 
larity in the number of words, together with the like places 
of their accents, and the equal count of syllables, under 



RYTHMUS OF SPEECH. 423 

which it has sometimes been the fashion, to set forth the 
strongest antithesis in ideas or sentiments, has not exactly 
the contrasted imagery of a pun, but it reminds me of it. 

The monotonous effect of a series of similar pausal sections, 
is conspicuous in the following example from the poems of 
Ossian. It is however, fair to remark, that as there are but 
two trysillabic words in the extract, and not one polysyllable, 
the defect of variety in accent and remission must be taken 
into account, in the faults of its rythmus. 

And is the son of Semo fallen 1 | mournful are Tura's walls. | Sorrow 
dwells at Dunscai. | Thy spouse is left alone in her youth. | The son of thy 
love is alone! | He shall come to Bragela, | and ask why she weeps? j He 
shall lift his eyes to the wall, | and see his father's sword. | Whose sword is 
that? | he will say. | The soul of his mother is sad. [ Who is that, | like 
the hart of the desert, j in the murmer of his course ? [ His eyes look wildly 
round | in search of his friend. | Conal j son of Colgar | where hast thou 
been | when the mighty fell 1 | Did the seas of Cogorma roll round the 1 \ 
Was the wind of the south in thy sails ? | The mighty have fallen in battle, | 
and thou wast not there. | Let none tell it in Selma, | nor in Morven's woody 
land. | Fingal will be sad, | and the sons of the desert | mourn. | 

The pausal sections are here nearly all of equal length, 
and this cause, together with the frequent occurrence of the 
cadence, produces the wearisome character of the rythmus. 
Doctor Johnson once said, that there were many men, and 
women, and children in Britain who could write such poems 
as those ascribed to Ossian. I have too many agreeable and 
grateful recollections of Scotland, to quarrel with her parti- 
ality, if she has any, on this point : but surely there is not 
a Roscius who can read them. We have indeed a vast fund 
for variety, in the constituents of speech ; but we may doubt 
their sufficiency to meet the demands of this composition, 
without transgressing the rules of a just and expressive into- 
nation. In short the passage, like many others by better 
poets, cannot be read with satisfaction, before the judgment 
of a discerning ear. 

Let us compare the preceding extract with the few first 
lines of Burke's episode on the Queen of France : which in 



424 RYTHMUS OF SPEECH. 

elegance, variety, and impressiveness of mere rythmus, and 
exclusive of some rhetorical ostentation, is not surpassed in 
the English language. 

That both the accentual and pausal sections may be gra- 
phically made they are here presented under Mr. Steele's 
notation, as scored by Dr. Barber in his ' Exercises in Read- 
ing and Recitation :' omitting the symbols for the light and 
heavy accent. 

7 It is | now, | sixteen or | seventeen | years | 7 since I | saw the | 
queen of | France, 7 | then the | Dauphiness, | 7 at Ver | sailles: | 
7 7 1 7 and | surely | never | lighted on this [ orb, 1 7 which she | 
hardly | seemed to | touch, 7 | 7 a j more de | lightful | vision. | 7 7 | 

j 7 7 | 7 I | saw her | just a | bove the ho | rizon, | 7 7 1 decorating 
and | cheering |7 the | elevated | sphere |7 she | just be j gan to | 
move in : 1 7 7 | glittering 1 7 like the | morning | star ; 1 7 7 | full 
of 1 life, 7 1 7 and | splendor, 1 7 and | joy. | 

Oh ! | what a | revo | lution ! 1 7 7 1 7 and | what a | heart 7 | 
must I | have, 1 7 to con | template 1 7 with | out e | motion, | 
that , 7 1 7 ele | vation 1 7 and | that 7 | fall. | 

The agreeable effect of this rythmus may be traced to the 
following causes. 

First. The alphabetic elements are varied throughout : 
and except the repetition of sound in teen and in the words 
lighted and delightful, cheering and sphere, they do not 
press upon each other. 

Secondly. The words have from one to four syllables ; 
and these are finely alternated with each other. These Accen- 
tual sections vary from one to five syllables in extent. 

Thirdly. The Pausal sections consist of from two syllables 
to ten ; and their different lengths are intermingled in suc- 
cession. 

Fourthly. The effect is still further varied, by an occa- 
sional coincidence of the temporal accent with that of stress: 
and the dignity and force of the phraseology is heightened, 
by the occurrence of these long syllabic quantities, at the 
place of the pauses: as in the words — years, Versailles, orb, 
horizon, sphere, move, star, joy and fall. 



FAULTS OF READERS. ( 425 

Fifthly. The order of the rythmus has just enough regu- 
larity to produce the smooth effect of verse, without allow- 
ing the reader to anticipate any subsequent measure. 

The only exception which might be made to the commen- 
dation of this extract, is produced by the consecutive accents 
at its termination. A spondaic cadence, where the accents 
or quantities are equal and full, if not designed for some 
extraordinary case of expression, or for variety in a series 
of short sentences, is always, to me at least, both awkward 
and unmanageable. 

The instances of rythmus which have been selected, are 
from prose-composition of elevated sentiment, and dignified 
style. But the plainest phraseology may be brought under 
the influence of the same rules of accent, quantity, and 
pause. In the hands of a person of fine rythmic ear, even 
a letter of business, with its enumeration of particulars, 
may be made to flow with variety and smoothness. 

It is unnecessary to go into a further detail on the subject 
of rythmus. Much might be said in illustration of its 
powers and beauties, both as existing in the current of 
discourse and in the conspicuous place of the cadence. But 
we leave this to the Rhetoricians. 



SECTION L. 

Of the Faults of Headers. 

It is a prevailing opinion that persons who speak their 
own sentiments, in social intercourse, always speak properly : 
and that transferring this natural manner, as it is called, 
54 



426 FAULTS. OF READERS. 

to formal reading and recitation, will ensure propriety of 
utterance. 

This idea has arisen from an ignorance of the functions 
which constitute the beauties and defects of speech. With- 
out a knowledge of that analysis which must be the founda- 
tion of definite criticism, teachers have been obliged to refer 
to the spontaneous efforts of the voice, as the only assistant 
means of instruction. It is true, the natural manner is more 
like the coveted excellence, than the first attempts of the 
pupil in reading ever are ; still the faults of ordinary con- 
versation, are similar to those of reading, though they are 
less apparent. Perhaps the prevalent opinion proceeds from 
a belief, that a just execution must necessarily follow a full 
understanding of the sense, and a true feeling of the senti- 
ment of discourse, both of which are supposed to accompany 
colloquial speech. No one indeed can read correctly or with 
elegance, if he does not both understand and feel what he 
utters : but these are not exclusively the means of success. 
Sense and feeling must have a well tempered material in the 
voice. 

The self-prompted efforts of speech do exhibit in some in- 
stances, those proprieties of emphasis and intonation, which 
are required for common narrative, argument, and passion. 
But they will be very far from satisfying that discrimination 
which will be strictly made, when speech is offered to the ear 
of a refined and analytic taste. 

There may likewise be a wide difference, between the 
capability of a voice in its colloquial use, and of the same 
voice when exerted in a formal attempt to read. Mr. Rice, 
in his " Introduction to the Art of Reading," refers to 
persons, who had been known to speak with great energy 
and propriety, those very words, which being afterwards 
shown to them in writing, they were not able, without great 
difficulty and repeated trials, to pronounce in the precise 
tone and manner in which they had previously uttered them. 
There seems, in such cases, to be no want of energy of mind 
or feeling, nor of flexibility in the voice. But when discourse, 



FAULTS OF READERS. 427 

embracing sense and sentiment, is read, even by its author, 
the occupation of the eye distracts attention from the mean- 
ing, or permits it to be fully recognized, only when shown 
upon a single point. For if that meaning is to be gathered 
from several words, the necessary forerunning and retros- 
pection of the eye, render the proper management of the 
voice impracticable to those who have not, by long exercise 
in the art of reading, acquired an almost involuntary habit 
of associating the proper form of vocal expression, with its 
corresponding thought and feeling. 

But whatever may be the cause of the difficulty of reading 
well, faults of all degrees and kinds do prevail in the art. 
Having therefore prepared the way for pointing out the 
nature of these faults, by describing the precise and elegant 
uses of the constituents of speech, I shall now endeavor to 
make the reader acquainted with the most common deviations 
from the analytic principles, assumed in this essay, as the 
measure of excellence. 

He who undertakes to note the defects of an art, must 
carry with his censure, a knowledge of its perfections. 
Faults are, every where, but relative to merits : and in 
elocution, they are the misplacing only of those forms of ex- 
pression which constitute its beauties : for some of the finest 
colors of the art are dipped from the very sources of its 
faults. He who declares his perception of blemishes, and 
yet cannot at the same time define and enumerate graces, 
speaks without candor, or as the dupe of authority. Let us 
then try to perform these inseparable duties, by giving the 
outline of a just and elegant elocution, along with a parti- 
cular enumeration of the vices of utterance. 

In treating of the phenomena of speech, I have always en- 
deavored to keep in view the purest and most elevated de- 
signs of taste. It will be little more than a recapitulation 
therefore to say, — The faultless reader should possess, for 
various occasions, all the qualities of voice from the full 
laryngeal bass of the orotund, to the lighter and lip-issuing 
sound of daily conversation. He should give distinctively 



428 FAULTS OP READERS. 

that pronunciation of single elements and their aggregates, 
both as to quantity and accent, which accords with the 
habitual perceptions of his audience. His plain melody- 
should be diatonic, and varied in radical pitch, beyond dis- 
coverable monotony. His simple concrete should be equable 
in the rise, and in the diminution of its vanish. His tremor 
should be under full command for the occasions of grief and 
exultation. Observation and judgment must have settled for 
him, the places and degrees of emphasis ; and a knowledge of 
its many forms, must have suggested the employment of 
them, for variety and expression. He should be able to pro- 
tract his voice through every extent of quantity, and in 
every concrete interval of the rising and the falling scale. 
He must have learned to put off from the dignified places of 
reading, every thing like that canting or affected intonation 
which the artful courtesies and sacrificing servilities of life 
too often confirm into habit ; and to avoid in his interroga- 
tions the keenness and excesses of the vulgar tongue. He 
should have too for this, as for every other Fine Art, a deli- 
cate sense of the Sublime, the Graceful, and the Ridiculous. 
A quick perception of the last is absolutely necessary, to 
guard the exalted works of taste, against the accidental oc- 
currence of its causes. 

It may be considered presumptuous, to pretend to fix a 
standard of criticism in the Art of speaking. Before the 
analytic development of speech, this could not have been 
done. We have now ascertained the constituents of vocal 
expression ; sufficiently at least to advance some steps to- 
wards a system : and it seems no undue anticipation of what 
must hereafter form the great purpose in the schools of 
elocution, to suggest such a use of these constituents, as may 
satisfy the cultivated ear. 

If, however, any supposed presumption should require apo- 
logy, or justification, let me here say a word on the system 
which I have offered ; and on the manner and means of its 
production. 



FAULTS OF READERS. 429 

In embracing the opportunity of investigating the nature 
of the human voice, which others equally, and perhaps better 

qualified had suffered to pass by, 1 brought to the inquiry, 

some natural facility of ear, and some acquired knowledge 
of the science of music. Upon tracing an identity between 
certain of the constituent functions of speech, and of music ; 
the train of investigation soon led to a discovery, that the 
number of individual vocal constituents is comparatively 
few. This at once unfolded the whole mystery ; for the 
delusions of that mystery were merely the result of a be- 
lief in the inscrutable nature, and the infinite complication of 
the aggregate constituents of speech ; and this unquestioned 
belief had blinded all perception of their individuality. By 
reducing the supposed illimitable aggregate to distinguish- 
able individuals, it brought their assignable number and 
nature, within the discriminative power of observation. 
The greatest difficulty was now overcome ; for by an unob- 
scured perception of the individual, it was easy to make out 
the relationship between the sentiment and its vocal sign. 
With this knowledge, obtained through my own experimen- 
tal illustration, I turned to the uncorrupted instincts of 
nature, in children arid in inferior animals, for instances of 
passionate expression ; and to common life, as well as to the 
eminent elocution of the stage, for the various usages of 
speech. The power of tracing the individual functions in 
these instances, and of recognizing their single and combined 
effects, brought me to the belief, — that the system here pro- 
posed has its origin and its confirmation in nature ; and is 
therefore well adapted, by its analysis, to gratify the lover of 
truth, and by the practical uses founded upon it, to contri- 
bute to the pleasures of an enlightened taste. 

Whilst developing the system of physical causation, I was 
led to perceive a wise conformity of the vocal means, to the 
expressive ends of speech: and to remark therein, at least 
the reasonableness of the system, if I did not dare to draw 
from the idea of such final causation, any confirmative evi- 
dence of its truth. In our preceding history, a broad and 



430 FAULTS OF READERS. 

important distinction isjnade, between the vocal functions 
which represent simple narrative and thought, and those 
which express sentiment and passion. To one division, we 
allotted the second and its plain diatonic melody. To the 
other, the semitone, with the wider intervals, and waves. 
Manifest differences in the vocal means, being thus definitely 
accommodated to manifest differences in the purposes of ex- 
pression. On the ground of this reasonable distinction, it 
was perceived at once, that the rule of respective appropria- 
tion is constantly violated by speakers : that a current 
melody of thirds, or fifths, or wider waves, counteracts the 
Final Cause of Nature, in constituting different characters 
of pitch ; confounds her intended contradistinctions ; pre- 
vents the repose of the ear on the unimpassioned diatonic ; 
and wears out its excitability to that emphatic power of 
the wider intervals, which is required for the occasional pur- 
poses of vivid expression. 

There is another consideration which must justify the 
establishment of a system of some kind, if it should not plead 
for the one which has been offered. When the constituents 
of speech are described and known, the precision of their 
use must become an object of attention and criticism with 
an audience. If there be an admitted rule for their applica- 
tion, the representation of thought and sentiment, will be 
more uniform, and expression will therefore have more force. 
When we vary the sign of the same thought we take from 
the clearness of its meaning. If we constantly whine in the 
chromatic melody, or cry out emphatically in the wider in- 
tervals and in the wave, to no purpose of complaint or sur- 
prise, we shall in vain seek for sympathy when the wolf of 
feeling in reality seizes upon us. 

In looking for a standard of excellence in the art of elocu- 
tion, we are always referred, as in the other fine arts, to Na- 
ture. But nature in this high capacity eludes the power of 
definition : and like Liberty with a patriot, — Orthodoxy with 
a sectarian, — Experience with a physician, — and Right with 
a moralist shows as many faces as there are tongues that 



FAULTS OF READERS. 431 

take her name in vain. If nature, deformed human nature, I 
mean, is to be the canon, it must be by the single instances she 
produces. If her excellencies are scattered throughout the 
species, it is Art that must collect them. But where is the 
instance in this nature, worthy of imitation ? Is it to be 
found in the drawl of the spiritless ! In the snappish stress of 
the petulant ? In the eternal whine of the unhappy ? The 
short quantity and precipitate time of the frivolous ? In the 
continued diatonic of the saturnine 1 In the even drift, 
whatever be its mode, of the passion-masking hypocrite ; or 
in the efforts of those morbid sensibilities which exaggerate 
every feeling ? Shall we find nature's paragon among the 
chatterings of the great market of life, that hurries through 
its melody by the straight line of the monotone ; that denies 
itself the repose of the cadence ; and that in bidding for its 
bargains of trade or notoriety, strains itself to the topmost 
note? 

These are the individual instances of vocal deformity pre- 
sented by Nature, with sacrilege so called, which we daily 
suffer to pass without comment, because we are engaged at 
the moment with other thoughts and designs : and which we 
perceive only when the voice itself, as a matter of taste, is 
the exclusive object of reflective and discriminating attention. 

But though nature affords no single instance of ideal ex- 
cellence in speech, she has, as an indication of her means for 
effecting the vocal perfection of the individual, diffused among 
the species, all the constituents of that perfection. It is the 
analytic description of the true character and purpose of 
these constituents, and the gathering in of their scattered 
proprieties and beauties, which sets up the full and choicest 
pattern of Imitable-Nature : and which, when reduced to 
instruction, through an orderly system of precept and ex- 
ample, constitutes the — Art of Elocution. 

The Canon, so called, of statuary in Greece, which repre- 
sented no singly-existing form, but which contained within 
the Rule of its Design, all the master-principles of the Art, 



432 FAULTS OF READERS. 

was the deliberate work of Genius and Time, in the very- 
method of Selection which we here claim for Elocution ; 
and was finished at last, by Polycletus, only after ages of 
successive improvement. If individual nature might be 
taken as a model in the arts, we should not at this late day 
be so often obliged to listen to bad readers ; nor to hear such 
clashing opinions, upon those who pass for the best. The 
productions of taste would have forerun their present needed 
cultivation ; and in reverse of the tedious growth of centu- 
ries, would like the garden of Eden, have been ripe at their 
planting. 

The masters in elocution, not perceiving that the art of 
speaking- well is one of the Fine Arts, and not drawing from 
a common source the principles that should appropriately 
govern each, have sometimes varied their old and imperfect 
rule of teaching by Imitation, to something like nature, as 
they think, by requiring their pupil, not to imitate another, 
but figuratively as it were, to imitate himself. Imagine your- 
self, says the master, to be delivering the sentiments of an 
author as if they were your own. 

Now, such a rule may possibly supply the want of better 
instruction ; it may serve for common-place sentiments and 
thoughts, and may exempt a pupil from some of the grosser 
faults of speech. On the other hand, suppose the art of 
reading to be exerted in representing the utmost power of 
description and imaginative creation by a poet. How will 
the rule of substitution meet this case 1 I have more than 
once seen, on the Stage, the pitiable result of what was de- 
signed to be an imitation of nature. 

All the Fine Arts are essentially — Arts, each the offspring 
of a noble alliance between Knowledge and Genius : the high 
accomplishment of the work by the Artist, and the reflec- 
tive enjoyment of its truth and beauty by the votary, being 
purely the result of close observation, extensive comparison, 
enlightened choice, and harmonized combination of the scat- 
tered constituents of their respective subjects. 



FAULTS OF READERS. 433 

Many of the faults of speakers, arise from their being 
taught by imitation alone. As long as there has been a his- 
tory of the Stage, so long, Actors have been classed in the 
school of some predecessor or of some contemporary mas- 
ter. But inasmuch as there is always one, who by chance 
or by merit is the Leading Spirit of the lustrum, (for where 
there are no rules of choice, even five years is a long life for 
fashionable fame,) it generally happens that his faults may 
be recognized throughout a crowd of pupils and imitators. 
From the want of some definite corrective, the bad reading 
of a Pulpit sometimes infects a whole class of students; who 
circumscribe the active benefits of their master's solemn in- 
struction, by taking up his sinful elocution. 

It may be said — If we establish a system of principles, all 
readers must be of one school ; and this will be equivalent 
to imitation. There would be one school ; but the similari- 
ty would not be in its errors. Many actors who differ from 
each other in their faults, yet perform some short sentences 
with identical excellence, without exciting a remark upon 
that equality. It is only upon one of those violent outrages 
of utterance, that we hear in a moment the whispered name 
of a prototype, from twenty parts of a theatre. Serious 
imitations of distinguished Actors and Speakers, like gay 
mimickries of them, are generally made on bad pronunciation, 
— monotony, — unpleasant quality of voice, — peculiar forms of 
melody, — whining, — false cadence,— or no cadence at all, — 
and precipitate and unaccountable transitions. 

But, enough of argument on this subject. The art of 
Elocution has never exhibited that mode of composition, 
which in analogy with the abstract delineation of Form, may 
be called — the Ideal Beauty of Speech. The mere instinct 
of individual nature, has been for each and all, the universal 
guide ; and the best skill of the voice has, under so poor a 
master, perhaps fallen short of the full resources for oral ac- 
complishment : whilst the common herd of pretenders afford 
an endless list of deformities. 
55 



434 FAULTS OF READERS. 

It is not the intention here to speak of the constitutional 
defects of the voice. It is difficult however, to draw a dis- 
tinction on this subject. Too many of the wilful vices of 
life, through self-delusion, pass for misfortunes : and it can 
scarcely be made a question, whether the impudent display 
of even natural failings should not shut out the subject from 
indulgent commiseration. 

There are three points, of the first importance to a speak- 
er: and if deficiencies therein are not to be called misfor- 
tunes, we may rank them as great and generic faults. I mean 
the defects of the Mind, of the Ear, and of Industry. 

Speech is intended to be the sign of every mode of thought 
and feeling. If therefore the mind of a scholar be not raised 
to that generality of condition, which can assume all the 
characters of expression, he will in vain aspire to great 
eminence in the art. If his mind is endued only with the 

diplomatic virtue of unruffled caution : if it is of that 

character which compliments its own dulness by calling 
energy violence: and which drawls out in reprobation at the 

vivid language of truth : if all its busy goings are but 

around the little circle of its own selfish schemes : if it has 
yet to hear, and never can be convinced, that success in 
every art is not more indebted to the plans of sagacity, than 

to the perseverance of passion : if the mind, I repeat it, 

is of such a cast, its possessor may perhaps by his best assi- 
duity, satisfy his own uncircumspect judgment and taste, 
but he can never reach the higher accomplishments in elocu- 
tion. 

In speaking of the mental requisites for good reading, we 
must not overlook our frequent neglect to discriminate be- 
tween Strong feelings, and Delicate ones. The latter make 
the full and finished Actor; and it is unfortunate for his art, 
that endowments, which under proper cultivation insure suc- 
cess, are generally united with a modesty which retires from 
the places and occasions for displaying its merits : whilst the 
former in reaching but the coarse energy of the passions, 



FAULTS OF READERS. 435 

are able to figure on the stage, only as the outrageous He- 
rod, the brazen Beatrice, and the Buffoon. 

The mind, or nervous temperament, must furnish the de- 
sign of elocution : the ear must watch over the lines and 
coloring of its expression. 

An ability to measure nicely the time, force, and pitch of 
sounds, is indispensable to the higher excellencies of speech. 
It is impossible to say how much of the musical ear, properly 
so called, is the result of cultivation. There is however a wide 
difference even in the earliest aptitudes of this organ, and 
though the means of improvement derived from analysis will 
hereafter increase the proportional number of good readers, 
and produce something like an equality among them, still 
the possession of a musical ear must with other requisites, 
always give an unequivocal superiority. 

I have spoken more than once in this essay, of Industry, 
the third general means for success ; the defect of which 
may be considered as the egregious fault in a speaker : and 
it certainly is the most culpable. It is here placed on high 
ground, along with mental susceptibility and delicacy of ear, 
those essentials which have been designated by the indefinite 
term ' genius.' In vain will the mind furnish its finest dis- 
criminations, or the ear be ready with its measurements, if 
the tongue should not lend the perseverance of its practice. 
It was by a figure of speech which took a part for the whole 
of the senses, that the happy curse upon mankind, doomed 
the taste to be gratified by the sweat of the brow. The ear 
too, can receive its full measure of delight, only through the 
long labor of the voice. 

The faults of speakers are of almost infinite variety: but 
they consist, as far as we have learned, of no vocal con- 
stituents, now unnamed to us. It seems as if nature had 
assumed in her adjusted system of signs, all the practicable 
functions of the voice. The corrupting art of the tongue in 
deforming her works, makes no addition to their elementary 
modes, but performs its part in human error, by misplacing 
them. In the present history of the faults of utterance, we 



436 FAULTS OF READERS. 

may therefore pursue something like the order which has 
more than once, in this essay, been given to our subject. 

Four general heads under which we considered the acci- 
dents of the voice, are Quality, Time, Force, and Pitch. 

Of Faults in Quality. This subject is so well known 
both in the art, and in common criticism, that it is unneces- 
sary to be particular with it. Harshness or roughness may 
be mentioned as one of the disagreable qualities of the voice. 
The nasal is still more offensive. Shrillness may rather be 
called a quality than a state of Pitch. It never has dignity. 
It seems like a mockery of the voice : and though it is heard 
remotely, and draws attention, it does it with the attraction 
of a caricature. The huskiness of aspiration is more apt to 
be united with the orotund voice. It does not indeed di- 
minish its gravity and sober grandeur, but it affects the ful- 
ness and clearness of its vocality. 

The falsette occasionally exists as the current quality of 
the voice. Whoever has this fault, should speak on business 
and for his wants, but no more. We sometimes find persons 
on the stage, and in the senate and pulpit, who show the de- 
formity of the falsette only at times, by the melody breaking 
from the natural voice, on a single syllable. Every speaker 
has a falsette; and the skilful can always guard against its 
improper use. When it occurs as a fault, it results either 
from the narrow compass of the natural voice, or from a 
defect of ear in the speaker: for not having an accurate 
perception of his approach to the falsette, he is unable to 
avoid the evil, by a ready descent of intonation. 

The falsette is common in the voices of women. It has 
with them a plaintive character: and the melody at this high 
pitch is more apt to be monotonous. 

Of Faults in Time. It is not meant to treat here, of what 
is called reading too fast or too slow. There is nothing new 
to be said on this point. But we who speak English are 
said, by the report of the compilers of Greek and of Latin 
grammars, to know nothing of quantity, and to have none in 
our language. That bad readers, and persons who will not 



FAULTS OF READERS. 437 

learn their own tongue, may know nothing of its quantity, is 
readily granted ; but, that it is an essential accident of every 
language, and that the neglect of it is the source of many 
faults in ours, must be admitted by those who know the 
nature of syllabic time, and-the proper use of the voice. 

There are two faults in quantity. Syllables may be too 
long or too short. When sentiments requiring short time, 
such as gaiety and anger, are otherwise expressed, a long 
quantity produces the vice of Drawling. This drawling may 
go through its excessive quantity, either as a wave of the 
second, or an equal or unequal wave of wider intervals, or 
as the notes of Song. 

When deliberate or solemn discourse is hurried over in 
short syllabic quantity, the fault is no less apparent and 
offensive. This last named defect in reading, is by far the 
most common ; and it has been said, more than once, in this 
essay, because it is well to rouse the English ear to this 
subject, that the command over time in the pure equable 
concrete of speech is found only in speakers of fervent feel- 
ing and long practice. Such persons acquire the use of pro- 
tracted quantity, because it is through long syllables, that 
the powerful expression of concrete intonation is effected. 
It is from ignorance of this fact, that some speakers, neglect- 
ing the variety and smoothness of the temporal emphasis, give 
prominence to important syllables only by some of the ham- 
mering modes of stress. 

Of Faults in Force. The misapplication of the degrees 
of loud and soft to the general current of discourse is suffi- 
ciently obvious. But in the various forms of syllabic stress, 
the faults of speech have been less observed, and conse- 
quently less avoided. 

Many speakers, from a difficulty in commanding the varia- 
tions in quantity, execute most of their emphasis in the form 
of force ; yet even in this apparently simple effort, they are 
not free from faults. Some persons, after the manner of the 
Irish, employ the vanishing stress on all emphatic syllables. 
This has its meaning in expression, but it is misplaced 



438 FAULTS OF READERS. 

except on the occasions formerly pointed out. A want of 
the sharp and abrupt character of the radical is not an 
uncommon fault. It is generally found in the dull and indo- 
lent: for nothing shows so clearly, the elastic temper of the 
voice and mind, as the ability to explode suddenly this ini- 
tial stress. 

It is not my intention to go into a notice of the faults of 
emphasis, in the common acceptation of the term. They all 
resolve into a want of true apprehension on the part of the 
reader. It should, however, be remarked, that through igno- 
rance of other constituents of an enlarged and definite elo- 
cution, which our present inquiry has taught us to appre- 
ciate and to apply, this well known subject of stress-laying 
emphasis, has, in the art of reading, held an importance 
which, within the narrow school of imitation, has restrictively 
assumed the very name of the art itself. ' How admirably 
she reads,'' said a thoughless critic, of an actress, who, with 
perhaps a proper emphasis of Force, was nevertheless, de- 
forming her part, by every fault of Time and Intonation. 
The critic w r as one of those who have neither knowledge nor 
docility, and therefore deserved neither argument nor cor- 
rection. Emphasis being almost the only branch of the art 
in which there is any thing like an approach towards a rule 
of instruction, this single function, by a figure of speech 
grounded on its importance, is taken, in the limited nomen- 
clature of criticism, for the sum of the art. Even Mr. Kem- 
ble, whose eulogy might have been founded upon other 
merits, made the first stir of his fame, if we have not been 
misinformed, by a new ' reading,' that is, by a new appli- 
cation of stress, to some of the words in Hamlet. 

We have awarded to the emphasis of stress its due, but 
not its undue degree of consequence: and perhaps it may 
be hereafter admitted that much of the contention about 
certain unimportant points of this stress-laying emphasis, 
and of pause, has arisen from critics on the drama finding 
very little else of the vast compass of speech, on which they 
were able to form for themselves a discriminative opinion, 



FAULTS OF READERS. 439 

or on which they were willing to expose their ignorance to 
others. When under a scientific institute of elocution, we 
shall have more important matters to study and delight in, 
we may perhaps find that much of this trifling lore of italic 
notation, which now serves to keep up contention in a daily 
gazette, will be quite overlooked, in the high court of philo- 
sophic criticism.* 

We may pass by the faults of pronunciation which depend 
on the misplacing of accents on syllables. Propriety in this 
matter is set forth in the dictionary, and the errors of speech 
may be measured by its rules. 

It is not within the purpose of this work to notice the faults 
of speakers, in the pronunciation of the alphabetic elements. 
Criticism should be modest on this point, — till it has the 
sense or independence to give to the literal signs of those 
elements, and to their uses in orthography, more of the ap- 
pearance of a work of wisdom, than they have ever received 
in any written language : till the pardonable variety of 
pronunciation, and the true spelling by the vulgar have 
satirized into reformation, that scholastic pen-craft which 
keeps up the difficulties of orthography for no other purpose, 
as it would seem, than to value itself on a troublesome and 
awkward system, as a criterion of education. 

Of Faults in Pitch. Speech has been peculiarly one of 

* Some one, of those who like to make business in an art, rather than to do it, 
has raised a question whether the following lines from Macbeth, should be read 
with a pause at banners or at walls : — 

Macb. Hang out our banners on the outward walls 
The cry is still, They come. 

To those whose elocution consists in such riddles, I propose the following from 
Goldsmith. 

A man he was, to all the country dear, 
And passing rich with forty pounds a year. 

Now let them guess, or dispute, for the rest of their lives, whether the emphasis 
should be on passing or on rich, thereby to determine whether the good village 
parson was passing or superlatively rich, with his forty pounds ; or merely that 
he passed among his parishioners, as very well off in the world. 



440 FAULTS OF READERS. 

those subjects, in which we often pronounce upon the right 
and the wrong, without being able to say why they are so. 
We have resolved the obscurity in respect to the proprieties 
of intonation ; it will not be difficult on similar principles, to 
give the analysis of its faults. 

Of Faults in the Concrete Movement. I have more than 
once spoken of that peculiar characteristic of speech, which 
consists in the full opening, the gradual decrease, and the 
delicate termination of the concrete. Now, as this structure 
is destroyed by the use of the vanishing and the thorough 
stress, it follows that their misplaced application must be 
regarded as a fault. The vanishing stress, which is exem- 
plified in the jerk of Irish pronunciation, produces a peculiar 
monotony, when continued throughout discourse : whilst 
the thorough stress, if not used for an especial emphasis, or a 
designed incivility, is a striking and a vulgar fault. Every 
one must be familiar with what we call a coarse and un- 
mannerly tone. This, as far as regards the structure of the 
concrete, is the effect of the thorough stress ; which has here 
the character of rudeness and rusticity. Some readers seem 
incapable of carrying on a long quantity through the equa- 
ble concrete ; substituting in place of it, the note of song. 
The most remarkable instance of this speech-singing, is that 
of the public preaching of the Friends, which I shall parti- 
cularly describe among the faults in melody. 

Of Faults in the Semitone. Who has not heard of whin- 
ing? It is the misplaced use of the semitone. The semitone 
is the language of tenderness, petition, complaint, and doubt- 
ful supplication : but never of manly confidence, and the au- 
thoritative self-reliance of truth. It is this which betrays 
the sycophant, and even the crafty hypocrite himself. They 
assume a plaintive persuasion, or a tuneful cant, not merely 
to make it appear that they are prompted by a kind and af- 
fectionate spirit, but because they distrust or despise them- 
selves, and are therefore governed by the feeling of weak- 
ness or servility. Suspicion should therefore be awake, when 
the show of truth or benevolence is proffered under this 



FAULTS OF READERS. 441 

cringing intonation : and in general, whenever the semitone 
is used for sentiments which do not call for it. 

The chromatic melody is more common among women. 
Actresses are prone to this fault ; and it is one of the causes 
which frequently prevent their assuming the matron-rule of 
tragedy, and the dignified severity of epic reading. They 
sometimes intercede, threaten, complain, smile, and call the 
footman, all in the semitone. They can vow, and love, and 
burst into agony in Belvidera ; but cannot with masculine 
ambition, order the scheme of murder in Lady Macbeth. 

The sentiments signified by the semitone, have been enu- 
merated. Whenever it supplants the proper diatonic melo- 
dy, it becomes a fault, and begins to be monotonous ; for 
when appropriate it never is so. I once heard the part of 
Dr. Cantwell, in the Hypocrite, played in the chromatic 
melody throughout. Perhaps it suited the pretentions of 
the pious villain, but it certainly was a palling monotony to 
the ear ; and the want of transition in voice, when he throws 
off the mask, in addressing his patron's wife, was remark- 
able. He was the righteous knave and the passionate lover, 
all in the same intonation. On the whole, the effect would 
have been more agreeable, if an abated, slow, and monoto- 
nous drift of the second had prevailed, with the use of the 
chromatic melody when required by the sentiment. 

Of Faults in the Second. The ear has its green as well 
as the eye ; and the interval of the second in correct and 
elegant speech, like the verdure of the earth, is widely dis- 
tributed to relieve sensation from the fatiguing stimulus of 
more vivid impressions. Though the diatonic melody, is the 
predominating hue of a well composed elocution, is simple 
and unobtrusive, and thus affords a fine ground for bringing 
out the contrasted color of more expressive intervals ; it does, 
when continued into the place of this wider intonation, as- 
sume a positive character under the form of a fault. 

The most striking instance of the misapplication of the 
second, is its employment for the sentiments which properly 
require the semitone. There are persons of such a frigid 
56 



442 FAULTS OF READERS. 

temperament, or with such inflexible organs, even when 
the feeling does not appear to be wanting, that they seem 
incapable, under ordinary motives, of executing the chroma- 
tic melody. Pain, or the excitement of their selfish instincts 
will produce it. But in them it seems to be so slightly as- 
sociated with tenderness of feeling, or so much beyond the 
limit of the will, that the most pathetic passages are given 
in the comparatively phlegmatic intonation of the diatonic 
melody. We sometimes see Actors of such a temperament, 
on the emergencies of a night, cast to the part of lovers : 
and may occasionally hear from the pulpit, — fervent appeals 
of the Litany, and humble petitions of extemporary prayer, 
uttered with a matter-of-fact intonation which would be ap- 
propriate to the task of repeating the multiplication table. 

Some persons are so bound to the monotony of the second, 
(for when even this interval is over-used and thus mis- 
placed, it has the effect of monotony,) that we are often 
more indebted to grammatical construction, than to the voice, 
for a perception of their interrogations. It is the same too 
with their emphasis, in those conditional and positive sen- 
tences which, for impressive and varied effect, respectively 
require the rising, and the falling interval of the third, or 
fifth, or octave. 

One of the most important functions of the second, is its 
agency in the formation of melody. It was shown in the 
sixth section, that the best effect of the diatonic arrange- 
ment is produced by a varied composition of the seven 
phrases. We have now to learn how far the common prac- 
tice of readers, deviates from this assumed, but as yet ideal 
perfection. 

Of Faults in the Melody of Speech. If the rule laid down 
in this essay, for constructing an agreeable succession of 
phrases, is exact, I must by that rule declare, — I have never 
yet heard a speaker with a well arranged, and satisfactory 
melody. Players spend their time before mirrors, till grace 
of person is studied into mannerism, and expression of 
feature distorted into grimace. Emphasis too, is teased in 



FAULTS OF READERS. 443 

experiment, through every word of a sentence, and tested 
in authority, by all the traditions of the Green-Room : — 
but who has ever thought of the successions of syllabic pitch, 
in a current melody, or imagined that faults may lie there ! ! 

The First fault to be noticed, is — the continued use of the 
monotone, or that of keeping on the same line of radical 
pitch ; the vanish of the second or of wider intervals, being 
properly performed. I do not here mean — that monotony 
which writers have observed, and have illustrated by the 
drawl of the parish clerk ; for this is the note of song, and 
will be spoken of presently. The defect of variation, in 
radical pitch, now under consideration, is not so glaring as 
this old conventicle tune, nor has it at all the character of song. 
If the reader were near me, I would endeavor to show the 
nature of this fault, without a further waste of words. All 
I can say in description is, that it takes from speech a very 
agreeable effect arising from a perception of the contrast 
of pitch in the falling ditone ; as the transition in this case is 
made from a feeble vanish to a full radical, which in the 
diatonic succession, is at the distance of two tones below 
the summit of that vanish. 

One of the causes of this fault in public speakers, deserves 
to be remarked here. I spoke of vociferation as a means for 
imparting vigor and fulness to the voice. But this exercise 
being made on a high pitch, sometimes tends to corrupt the 
style of melody. Speakers who address large assemblies, 
and who have not that clear vocality and distinct articula- 
tion which produce the requisite reach of voice, generally 
attempt to remedy the defect by rising to the utmost limit 
of the natural compass ; and there hold their current just 
below the falsette. For fear of breaking into this, they dare 
not vary the melody by taking their pitch alternately higher: 
and the desire to preserve the diffusive effect of shrillness 
does not allow them to descend by radical changes. They 
consequently continue on one monotonous line: and thus 
vitiate their taste by the partial pleas of their own example ; 
impair their melodial flexibility ; and blunt their percep- 



444 FAULTS OF READERS. 

tion of the variety of movement in a more reduced current 
of pitch. 

This cause operates on the Bar, the Pulpit, and the Stage ; 
where the demands of the space to be filled exceed the com- 
mon powers of the voice : but it is most conspicuous in the 
melody of our Demagogue, whose own political purposes 
lead him to address great crowds in the open air. 

Second. Melody is deformed by a predominance of the 
phrase of the monotone, together with a full cadence at every 
pause. This perhaps is only found in the first attempts at 
reading by children and rustics. 

Third. By a mingling of the phrases of melody, but with 
a formal return of the same successions. In this case, the 
whole discourse is subdivided into sections, resembling each 
other in the order of pitch. The limits of these sections are 
severally measured by the length of entire sentences, or of 
their members. And it may here be remarked, — that this pe- 
culiar habit of the voice and ear, in dividing the melody into 
sections, as well as in forming accentual and pausal divisions, 
has a very close connexion with the rhetorical character of 
style. It certainly cannot have escaped observation, that 
there is a tendency in some persons to give equality to the 
length of their sentences ; and this is in many instances de- 
pendent on their elocution. But the niceties of this subject 
will receive due consideration, at some future time ; when 
we who speak English shall, through observation and inde- 
pendence, take upon us to deny, that the best method 

for studying our own language, is through the Syntax and 
prosody of the Latin and the Greek. 

There is no special form of melody assumed by all speak- 
ers ; each one falls into a habit of his own : though it is 
plain, from the very method of construction, that there can- 
not be a great variety. All Actors, except those of the first 
class, and they are not as finished on this point as they may 
be hereafter, all Actors I say, are prone to this bird-like kind 
of intonation. They have a short run of melody which if 
not forcibly interrupted by some peculiar expression, is con- 



FAULTS OF READERS. 445 

stantly recurring. The return forms a kind of melodial 
measure : and I now call to mind an Actress of great repute, 
whose intonation was filled with emphasis of thirds, fifths, 
octaves, and waves ; and whose sections of melody could be 
anticipated, with something like the forerunning of the mind 
over the rythmus of a common stanza of alternate versifica- 
tion. Those who commit this fault, will have no difficulty 
in recognizing and correcting it, if desirable, when the mirror 
of analysis is held before them. 

The monotonous effect of a repetition of these similar 
melodial sections, constitutes one of the signs by which the 
gallery, and some of their better dressed peers in the boxes, 
distinguish the voices of famous Actors, and think thev re- 
present their real points of excellence, when they mimic 
only what is strongly offensive and worthless. In the fault 
to which I allude, the recurring portion of the melody may 
consist of a properly varied succession of phrases: but you 
hear it too often and remember it too well. The whole cur- 
rent in this case reminds me of the festoon, which however 
beautiful in itself, was in abasement of Greek architectural 
taste, joined in endless repetition around the freize : instead 
of suggesting a resemblance to that successive variety in 
ornamental composition which adorned the metopes of the 
Parthenon. 

Fourth. I have known more than one speaker with this 
fault. — Sentences or members of sentences are begun aloud 
on a high pitch, and ended with a low and almost inaudible 
voice : and this is continued successively throughout a 
whole discourse. It would be hard to find out the meaning 
of this fault, or to discover such a shadow of apology for it, 
as many worse offences in life can claim for themselves. 

One of the persons thus addicted to this monstrous piece 
of affectation, for no natural or conventional motive could 
ever have suggested it. was. bv the associates of his long 
since departed day of self-importance, called ' a fine reader.' 
Such instances of fame may serve to substantiate an asser- 
tion, that there is no art in which self-imposition is more con- 



446 FAULTS OF READERS. 

spicuous than in Elocution. Where there is no acknowledged 
rule of excellence, every one, whether cultivated or not, 
makes his own partialities or interests the standard. Having 
learned somewhere, that it is the part of good reading to 
fulfil the designs of sense and sentiment, and as each one in 
his attempt, fulfils his own conception of an author, he fairly 
concludes that he possesses the full power of the art. Hence 
one reason why we find so much delusion on the subject of 
this accomplishment. For, reputed ' good readers/ are often 
not merely negatively deficient ; they are often positively 
bad : and perverse as it may seem, to the professed appro- 
bation of a majority, I have frequently gone to learn the faults 
of speakers, when called to hear some 'star' of elocution, even 
though that star was himself a Teacher of the Art. Loud 
noises, seem to have always been the delight of savages in 
their first step towards music ; so an exaggerated and con- 
sequently striking character of the accidents of speech, is 
always most agreeable to the uninstructed ear. 

Fifth. I illustrated, in the section on melody, the mode 
in which the transitions of pitch are made from one line, to 
another above or below it. Some persons find it difficult to 
change the radical in this manner. This defect not only 
takes from the variety of utterance, but prevents a reader 
from passing from a very high or low pitch, when he has 
improperly set out in either. Speakers sometimes descend 
so far that they have not enough compass left, 'below the 
line of current melody, to permit an audible execution of the 
last constituent of the cadence. In this case they feel the 
feeble and unsatisfactory effect of their intonation, without 
perceiving the cause of it, or without being able to apply 
the remedy. A knowledge of the mode of melodial pro- 
gression, and of the space through which the cadence de- 
scends, will enable the reader to avoid the fault here pointed 
out. 

We noticed formerly the circumstance of a reader, with a 
good ear, having a sort of precursive perception of the fal- 
sette, sufficient to enable him to turn from it, when his 



FAULTS OF READERS. ( 447 

melody is moving near the top of his natural voice. The 
same kind of anticipation of the lowest note, enables such a 
reader to keep his cadence within the limit of distinct arti- 
culation. 

Sixth. The use of the protracted radical and vanish, in- 
stead of the equable concrete, is one of the widest deviations 
from the characteristic of speech. For it has been shown 
that a proper melody, the diatonic as we have called it, con- 
sists of an equable movement through the interval of a 
second, with an agreeably varied radical change through 
the same space : the current being occasionally broken by 
wider equable transitions, and by different modes of stress, 
according as the sentiments may require any of these addi- 
tions upon individual words. 

In as much as this fault is an error of long quantity, it is 
not often heard in the hasty pronunction of common life. I 
have, however, met with a slight degree of it in a phlegma- 
tic drawler. Public speakers overwrought by excitement, 
and straining their throats to be heard, I say, — straining their 
throats, instead of energizing their voices, are most liable 
to this error of intonation. Some of the cases of this fault 
that have passed under my notice, were connected with a 
monotonous current melody, and a very defective manage- 
ment of the cadence. I heard it under the form of the pro- 
tracted radical, along with other heinous offences against 
good elocution, in one of the public's ' great Actors.' It 
was most conspicuous in his endeavor to give long quantity 
to immutable syllables ; as in the following words of Macbeth. 

Canst thou not ra — inister to a m — ind diseased; 
PI — uck from the m — emory, &c. 

I have here set a dash after the letters on which he con- 
tinued the protracted radical, until it suddenly vanished in 
the termination of the syllable. The Actor's fault was a 
lapse from a just instinct. He felt obscurely the need of 
vocal quantity for the purpose of expression ; but being one 
of those who having some animal spirits, with little intellect, 
no education, and an inverse proportion of vanity, are 



448 FAULTS OF READERS. 

always talking about genius, he never once thought of such 
things, as marring the nature of an immutable syllable, nor 
of the practicability of leading a subtonic element through 
the equable concrete : matters that would long ago have 
been prepared for his instruction, if there had been in the 
Dramatic art more observation and reflection, and less noisy 
foolishness about the stage doctrine of * Identity' and of self- 
sufficient genius. 

Seventh. The fault of melody we are now about to con- 
sider, is somewhat related to the last described misuse of the 
protracted notes. But it adds the other modes of intonation, 
which in the second section were ascribed to song: the 
whole being confused in such a manner with the equable 
concrete, as to destroy every design of speech, and to exhibit 
the ultra example of vocal deformity. 

In the historv of man, there is nothing more indefinite than 
descriptions of the voice : but there is reason for believing 
that this deformed melody is the same with that puritanical 
whine, which was affected so generally in religious worship, 
in England, above two hundred years ago. It has been 
changed into other faults scarcely less censurable, by the 
pulpit of the present day. The society of Friends alone have 
retained it as a general practice : and it will not be regarded 
as either idle or invidious, to look into the structure of this 
most remarkable intonation, by the light of our preceding 
analysis. 

I shall first set down the notation of this melody, and af- 
terwards particularly explain it. 

I heard a voice from heaven say-ing, write, 



pi^S^^z^sz^ 



bless-ed are the dead who die in the Lord. 



'^j^tf^j^s^ 



FAULTS OF READERS. 449 

I have under its several places, spoken of the Minor Third 
or plaintive interval, of one tone and a half. A melody 
founded on a current of minor thirds, has that excessive or 
peculiar plaintiveness which forbids a repetition of its effect 
in speech. Now the above notation, is with a few excep- 
tions a melody of minor thirds ; and its unpleasant and mo- 
notonous whine is produced by the drift of that interval. 

Upon this staff, let the third be minor. Then the first and 
second syllables are protracted vanishes upon a concrete minor 
third. A, and voice, are protracted radicals to a concrete 
descent of the same interval. From, is a protracted radical 
to the rising interval of a minor third. Heaven, is a minor 
third of the same form with voice. The two syllables of 
saying, are equable concretes, respectively, of an upward 
and downward tone. The rest severally resemble those al- 
ready described ; except who, — which consists of a pro- 
tracted radical to a direct wave of the minor third, whose 
downward constituent terminates in a protracted note. 

In the execution of this melody, there is not only the gene- 
ral effect of a monotonous song, but there are peculiar and 
striking contrasts, arising from the various effects of the 
changes among these different modes of intonation. The 
most extraordinary liberties are taken with quantity. The 
long, however, as necessary for the notes of song, predomi- 
nates. There is here no distinction between immutable, and 
indefinite syllables : the shortest are not only prolonged to 
any extent, as in write, but they are divided as in voice, 
which is apportioned to the two parts of its symbol, as if it 
were voy iss. I have introduced the equable concrete 
among the protracted notes, and have put the cadence into 
the diatonic form, to exemplify those abrupt and rousing 
changes of the whole nature of intonation, which are some- 
times made at the pauses, and the close of this most fantas- 
tic melody. I have not exhibited all the varieties into which 
the above named constituents, together with the tremor, and 
the wider intervals, are combined in it. But I have shown 
57 



450 FAULTS OF READERS. 

enough to furnish a plan for self-examination and amend- 
ment. 

If those who are accustomed to this melody should ask, 

why it may not be employed, if it is by habit agreeable, 
and reverenced by association with the occasions of its use? 

I answer, that, throwing aside taste, and regarding plain 

usefulness, it does not accomplish the attainable ends of 
speech. By speech we communicate our thoughts ; and in 
the duties of religion, there are motives and zeal, to do it 
with the most forcible means of persuasion or argument. So 
far as the voice is concerned in these duties, its means lie 
principally in the energy and expression of emphasis. But 
by the mode of intonation in this remarkable melody, the 
varying designs of emphasis are counteracted by the almost 
continued impression of a plaintive song; or are crossed in 
purpose by the unmeaning obtrusion of unexpected changes. 
How can the sentiments which dictate the encouraging de- 
scriptions of blessedness and glory be represented by the 
trembling voice of distress? How can the sober positive- 
ness of truth, and the wonder at almighty power, which re- 
quire the downward concrete, be enforced by the shrillness 
of a perpetual cry 1 How can we particularize the strong 
feeling of supplication, if we equally employ its symbols in 
the threats of vengeance % And with what force can we re- 
present interrogation, if the sharp vanishes, which are in- 
stinctively allotted to it, are so often unmeaningly playing 
in the voice ? 

Whoever regards the words of ordinary song, knows into 
what confusion emphasis is there thrown. It is not more 
clear or correct in the kind of melody we are now con- 
sidering. 

I have thus made the strongest representation of this 
fault. It is sometimes heard in a more moderate degree, 
especially in the voices of women ; consisting of a slight 
protraction of the top of the vanish on all the long quanti. 
ties of discourse. 



FAULTS OF READERS. 451 

This singing melody, as delivered in the public meeting- 
house, by men as well as women, is generally of a high or 
piercing pitch ; this being the means of audibility usually 
employed by persons of uncultivated voice. 

Of Faults in the Cadence. If I were to designate any 
parts of utterance as particularly liable to faults, they 
would be those of the succession of radical pitch in melody ; 
and in the cadence. Even the best readers do not seem to 
have fallen accidentally into an attainable variety, in the 
execution of the current and close of discourse. But faults 
in the cadence are the most striking. 

We can assign a cause for the frequent failures upon this 
point. 

Whoever closely observes the character of speech, in the 
common dialogue of life, must perceive that the earnest 
interests which govern it, the sharp replications and inter- 
ruptions of argument, and the piercing pitch of mirth and 
anger exclude, in a great measure, the terminaiing repose of 
the cadence. This is particularly the case with children and 
the ignorant, who having no spring of action except interest- 
ed curiosity and selfish passion, rarely employ any intonation 
besides that of wider and more expressive intervals. When 
therefore a person first undertakes to read, in a formal way, 
and as an oratorical accomplishment, the impassioned habit 
is too inveterate to be at once laid aside; and a disposition 
to keep up the colloquial characteristic of speech, extending 
itself to the place of the cadence, defers for a long time, the 
ability to give, with propriety and taste, the more composed 
and the graver intonation of the terminative phrase. 

Faults in the execution of the cadence are various. The 
most remarkable instance within my memory, is that of a 
clergyman, who in an address of fifteen minutes duration, 
never once made a cadence ; no, not even at his final period. 
The audience were notified to sit down, by his terminative 
Amen, not through the proper indication of the close by his 
voice. 



452 FAULTS OP READERS. 

But even those who have the ability to make a cadence 
are infected by the next fault to be mentioned. 

I described ten forms of the cadence. This was done, to 
point out distinctions which may be made by an accurate 
ear, and in reality executed by those who have flexibility of 
intonation. For the purposes of instructive rule, we may 
particularize the Feeble, the Duad, the Triad, and the 
Prepared cadences. These are quite sufficient for the ordi- 
nary purposes of reading; and vocal skill can always effect 
an interchangeable variety of them, in the succession of 

periods. The next fault then consists in a repetition 

at every pause, of the same kind of cadence, and that 
generally a full one. This fault is increased by the common 
mode of punctuation, which often sets a period at places, 
where the voice should be only suspended by the phrase 
of the downward ditone. 

I have heard an Actor of high character use what we for- 
merly called a false cadence: that is, a descent of the third 
by radical change, the second constituent of the Triad being 
altogether omitted. This false cadence is sometimes made 
on a wider discrete interval; the voice suddenly falling a 
fifth or even an octave, if the pitch has been high enough to 
allow these descents. 

Some persons are in the habit of making the cadence in a 
low and almost inaudible pitch. This arises from a want 
of that prospective reach of perception in the ear, which 
enables a reader to hit the precise place for his cadence. 
One who has not this skill, may indeed know that the period- 
pause is at hand, and that therefore the voice should descend: 
but being ignorant at what point he ought to begin, under 
the fear of falling precipitately upon the close, he prepares 
for it too soon. A downward ditone is first made, and some 
instinct preventing him from adding the next tone below, by 
which the cadence would be completed before its time, he 
adds a monotone, and again tries a downward ditone. In this 
manner he descends, till with an enfeebled voice, the cadence 



FAULTS OF READERS. 453 

is made on the three final syllables. The process here de- 
scribed is not indeed continued through many words ; most 
readers would in that case soon exhaust their pitch. Yet 
this does sometimes happen : for the voice by this shelving 
course is at last brought down to a husky and almost inaudi- 
ble pitch. 

Of Faults in the Third. The third is properly employed 
in the moderate forms of interrogation, and in conditional 
phrases. Some readers however execute the whole current 
melody in the rise of this interval : the emphatic words in 
this case being marked by modes of stress on the third, or 
by a wider run to the fifth. There is a disagreeable sharp- 
ness in this melody. It wants force; for it abates by 
comparison the impressive character of the wider intervals, 
when emphasis requires their introduction. I have heard 
persons with this fault try to read Milton and Shakspeare, 
and always without success. The current of dignified ut- 
terance must always consist of the wave of the second, on 
long quantities. No simple upward concrete can effect it : 
though the rise of a wide interval may be occasionally em- 
ployed for emphasis, in the gravest drift of the diatonic 
melody. A speaker who improperly uses the third as his 
current concrete, feels the necessity of avoiding a simple 
rise : and therefore sometimes returns it downward into the 
form of the wave. This however does not obviate the im- 
propriety, as we shall learn presently. 

Another fault in the third, even when the whole current is 
not made by that interval, lies in forming all the emphasis 
with it. This likewise gives a sharpness to speech, together 
with monotony; for one of the causes of beauty in utterance 
consists in a variation of the mode of emphasis : and we 
pointed out, in its proper place, the abundant means in the 
voice, for this variety. 

The substitution of the third for the second, in melody, is 
principally offensive from its monotony. And the reader 
may recollect it was said in the section on Drift, that the 
wider intervals will not bear continued repetition. 



454 FAULTS OF READERS. 

Of Faults in the Fifth The interval of the fifth is 
sometimes made the current concrete of melody : the pecu- 
liar effect of the intonation being most conspicuous in the 
emphatic places. It is a less frequent fault than the last, and 
is more commonly heard in women. Its monotony, has a 
still greater sharpness than that of the third: the whole 
melody having the construction and effect of an interroga- 
tive sentence. 

A less remarkable degree of this fault is that of a diatonic 
melody, in which all the emphasis are made by the fifth. 
This too has its sharpness and monotony ; and I am sure 
the reader will be sufficiently guarded against this fault, by 
keeping in mind the ample resources of the voice for the pro- 
duction of varied emphasis. 

Those who thus misplace the third, and fifth, are apt to 
carry them into the cadence: such readers end many of their 
plain declarative sentences with the characteristic intona- 
tion of a question. 

I might point out a similar error of place in the Octave : 
but it is of rare occurrence, and to be observed only in the 
piercing treble of female voices Some persons cannot ask 
a question in the subdued and dignified form of the third or 
fifth, but do it aKvays in the keen or facetious intonation of 
the octave. 

Of Faults in the Downward Movement. The faults men- 
tioned throughout this section, are found more or less among 
those who are called good readers. When instruction shall 
grow out of the philosophy of speech, and not out of 
imitation, the defects of utterance, now so common as to re- 
quire notice, will be confined, like the faults of grammar, to 
the uneducated and the careless. As far as I have observed, 
there are no very conspicuous errors in the use of the down- 
ward intervals. If the falling second should disproportionally 
predominate in the current melody, it will give a grave for- 
mality to the utterance which may happen to be misplaced. 
The wider downward intervals do not often occur as faults » 
since it requires some skill to use them in their emphatic 



FAULTS OF READERS. 455 

positiveness, and he who can thus execute them correctly, 
will not be likely to misapply them. 

Of Faults in the Discrete Movement. Of defects in the 
management of the radical change of the second, which 
forms the diatonic melody, we have already spoken. Pre- 
cipitate falls of the third, fifth, and octave sometimes occur 
in the cadence of very bad readers. Others again are un- 
able to effect those upward and downward radical transitions, 
by which accomplished readers produce some of the most 
striking features of emphasis. 

Of Faults in the Wave. The reader must bear in mind 
that the wave of the second, both in its direct and its in- 
verted form, is dignified but plain in its character, and 
therefore admissible into the diatonic melody as a drift. 
But it is not so with the waves of wider intervals. They 
have their proper occasions as solitary emphasis ; whereas 
the continued repetition of them becomes to the ear of taste 
a disgusting fault. The form of the wave which is commonly 
affected by a certain puling class of readers, is that of the 
inverted-unequal, the voice descending through the second, 
and rising through the third, or fifth. This fault is most 
remarkable in the reading of metrical composition ; and it is 
probable that the bad habit with some, may have arisen from 
associations with tune, which is so often united with verse. 
Persons who read in this way give a set melody to their 
lines ; certain parts of each line, as far as the emphatic 
words will permit, having a prominent intonation of the 
wave. 

There is much of every form of the wave in conversation : 
and the general spirit of daily dialogue often makes it ap- 
propriate there. But I have heard the colloquial twirl even 
exaggerated by an Actress of great temporary reputation. 
Her style consisted of a continual recurrence of identical 
sections of melody, composed principally of the wider forms 
of the equal and unequal wave; which showed indeed a 
vocal pertness, and a sort of vivid familiarity, that some 



456 FAULTS OF READERS. 

called spirit, but which wanted the brilliant dignity of execu- 
tion, that a performer of High Comedy owes to the author. 

Some actors are prone to the use of the double wave. 
They make it the emphasis of every feeling; thereby deno- 
ting that they themselves have none. It is an impressive 
vocal agent, and is therefore often thoughtlessly introduced 
to give prominent effect and variety to melody. It has 
however, restrictively, its proper duty and place : and it 
should be remembered that there is a sneering petulance in 
its character, totally inconsistent with dignity. 

There is nothing better calculated to show the importance 
of the plain ground of the diatonic melody in speech, than 
this abuse of the wave. It includes the effects of faults in 
the third, and fifth, and consequently gives to discourse the 
most florid and impressive character. But when such strik- 
ing intonation is set on every important syllable, — how 
shall we mark emphatic words except by the utmost excesses 
in quality, or time, or force? 

Of Faults in the Melody of the Pause. In the section 
on Pause, it was shown what phrases of melody were proper 
for connecting, and for separating the ideas of discourse. 
Those who may hereafter look into this subject, will see 
the fitness of the allotment there made ; and will moreover 
be struck with the violations of sense, and of variety so 
commonly heard among readers : some of whom set a 
rising third, or fifth, at most of the sub-pauses, and even 
at the period. A want of nicety too, in varying the kinds of 
cadence according to the fulness of the close, is a very gene- 
ral fault : for there is great clearness given to style, by 
that delicacy of perception which leads a reader to put the 
feeble cadence at doubtful periods, and the prepared cadence 
at the end of a paragraph or chapter. 

Of Faults in Drift. The purposes both of truth and of 
variety, in the art of Reading well, are effected by a delicate 
regard to the correspondence between sentiment and vocal 
expression, in individual words ; and to the Drift, or con- 



FAULTS OF READERS. 457 

tinuation of a given character through one or more sen- 
tences : whereas a neglect of this adjustment, will, accord- 
ing to its degree, weaken the impression of utterance, or 
shock the ear and taste of an auditor. Some readers con- 
tinue one style of voice through every change of thought and 
passion : others vary the character of the utterance, without 
adapting it to the demands of sentiment. 

Under the last head, we spoke of the means of the prepared 
cadence for indicating the termination of a paragraph or sub- 
ject. Now, certain changes in the structure of melody, 
which were formerly described, may be employed to warn 
an audience of the beginning of a paragraph or subject. 
The deficiency of a speaker on this point is a flagrant fault. 

The object most worthy of remark in this place, is the 
sudden transition from one style of utterance to another 
without a corresponding change in the subject. I remem- 
ber to have heard an Actor set the whole House into a hum 
of merriment, by making that answer of Jaffier to the con- 
spirators, — 

Nay— by Heaven I'll do this, 

in the curling quaintness of the wave. The sentiments of 
Jaffier, the solemnity of the juncture, and the purpose of his 
entrance among the conspirators, are all at variance with 
the levity, conveyed by this sneering intonation. Severity 
of resolution, is Jaffier's sentiment ; and this calls for some 
of the energies of stress, and the positiveness of the down- 
ward emphasis. I have tried in vain to find a term for those 
outrageous transitions, sometimes heard on the stage. They 
belong to the head of the faults of Drift : but we must speak of 
them as vocal pranks, without a name. I mean to designate, 

those abrupt changes from high to low ; from a roar 

to a whisper ; from quick to slow ; harsh to gentle ; 

from the diatonic melody to the chromatic ; from the 

gravity of long quantity, to the levity of sneer, to the quick 
58 



458 FAULTS OF READERS. 

stress of anger and mirth, or to the rapid mutterings of a 
madman. 

There are two different defences may be set up for a par- 
ticular mode of Elocution. The one, that it is a copy from 
nature : the other, that it does artificially best answer the 
ends of speech. No apology for such flagitious transitions 
can be derived from either of these sources. I have seen 
persons under the highest excitement of passion, and chang- 
ing from one degree and kind of feeling to another ; but I 
have never heard any thing like the harlequin-transforma- 
tions of voice, which are sometimes played off upon the Stage, 
except in a paroxysm of womanish hysteria. On the other 
hand, supposing the practice to be founded on an artificial 
system, — we would make no objection, provided it would ac- 
complish all the expressive purposes of speech. But what 
reasonable plea can that system urge, which annuls all the 
beauty and frugality of rule ; which destroys, by its anomaly 
and abruptness, all the pleasures of anticipation ; and takes 
from the fine arts, the delight in boundless association, which 
arises from the busy exercise of well-established knowledge. 

The truth is, that where this fault does not arise from 
ignorance, or from apeing, it is purposely assumed with the 
view to produce what the small vocabulary of dramatic 
criticism, calls ' Effect.' The Actor finding himself deficient 
in the rich variety of knowledge, and that finish of expression, 
which drown scrutiny in reflective approbation, tries to 
remedy his vocal poverty by breaking through the even 
tenor of an appropriate Drift, with some ear-starting stimu- 
lus or some unexpected collapse. 

We must however do some Actors the justice to believe, 
that they have too exact an estimate both of nature and art, 
to approve of such things. But how shall we absolve them 
from the charge of submitting to what they know to be ill- 
judged applause ; and of being ' willing to deceive the people 
because they will be deceived,' — the easy art and resource 
of weakness, and the wretched apology of ambition and kna- 



FAULTS OF READERS. 459 

very. It is the part of elevated intellect to undeceive the 
world, even by unwelcome truths ; to make all men at last 
bow down ; and to be the master, instead of the slave of 
opinion. 

We need not specify the faults that occur within the sub- 
ject of grouping. Errors in the connexion or separation of 
ideas in discourse belong rather to the mind than to the 
voice. 

Fault of Mimicry. In a previous page of this section, it 
was remarked, — that imitations of speech, whether made 
seriously or for mirth, are generally copies of its faults. I 
am here to speak of the effect of mimicry in corrupting the 
principles and practice of vocal expression. 

Under the prevalent views of the old system of elocution, 
this purpose may need explanation. It is the creed of this 
system, that he who speaks with a full understanding and 
feeling of his subject, always speaks with propriety. This 
belief carries with it the conclusion, that there is no abstract 
or universal system in the uses of the voice ; but that the 
unity of design in speech must be resolved into the discord- 
ant expressions of individuality. And consequently, that 
mimicry, which amuses itself with the peculiarities of all, 
so far from being injurious to the powers of speech, ought, 
on the contrary, to support and extend them. For, by this 
belief, all being supposed to speak the dictates of their re- 
spective sentiments correctly, it follows that the mimic, who 
can assume the proprieties of each, must possess the faculty of 
acquiring the excellencies of all. Now we know that the 
effects of mimicry depend on contrast; and this contrast 
must be made, with some standard in the human voice. 
But by the condition of the case, there is no standard but 
that of individuality : and thus the standard is destroyed by 
its endless variations. Mimicry then, though able to as- 
sume the vocal ability of all, cannot, from the want of a 
standard, assign the comparative excellence, or superiority 
to any : and though it may, by universal imitation, add to 
its resources and flexibility, it cannot, from the want of this 



460 FAULTS OP READERS. 

measure of excellence, improve or exalt itself. And as it 
must necessarily be more frequently employed on vulgarity 
and exaggeration, than on truth and refinement, its constant 
tendency must be to error and degradation. 

Mimicry is the exact, or exaggerated imitation of the 
faults of speakers. It must therefore be founded on a per- 
verted or extravagant use of the constituents which have 
been enumerated, under the heads of Quality, Time, Force, 
Abruptness and Pitch. Mimicry in speech, is an essential 
product of the ignorance and error of man. With all his imi- 
tations, he cannot turn to ridicule, (except it reminds him of 
himself,) the unviolated law of nature, in the voice of a 
single inferior animal. In the deformities of his own voice, 
he is the fit subject of his own contempt. Had the true and 
expressive system of nature in that voice, been developed 
and cultivated, there would have been few faults except 
upon the vulgar tongue ; and perhaps no mimicry, worthy 
of an intelligent smile, in speech. 

Mimicry is not only founded on faults, but it contributes 
to confirm and to multiply them. It multiplies faults, by 
confounding those just perceptions, that might discern and 
prevent them; and it confirms them, in the mimic, by giving, 
to a habit of distortion, the force of second nature in his 
voice. Mimicry weakens or perverts the powers of expres- 
sion in speech, by confusing its signs, through the varied 
representations which are made of the same sentiment, in 
different individuals : when by the strict decree of nature, 
those sentiments should always have the same appropri- 
ate vocal sign. One cause of our not perceiving the real 
designs of nature, is — that the ordained associations of sign 
and sentiment are confounded by the same sentiment being 
expressed in so many different ways. How much then, 
must the mimic be at fault, and how much must the whole 
purpose of his speech be corrupted, by the endless variety 
and exaggerated degree of false expression, constantly upon 
his ear '( Few mimics are able to rise to the character of 
dignified utterance : and when they even seriously imitate 



FAULTS OP READERS. > 461 

accomplished speakers, it is always in their accidental defects. 
Some of the better class of Actors possess the power of 
mimicry: but as far as I have known them, they have 
wanted a high refinement and finish in the truthful expres- 
sion of thought and passion. And so it ought to be : and so 
it will be regarded hereafter, if there is any conformity to 
nature, in our present representation of her. 

And here let me not unmindfully say, — that if Nature had 
not, by accident, afforded me the light and the defences of 
her truth and her principles, I would not have dared, nor 
even thought, to touch the mantle of renown, that wraps the 
Histrionic character of the Immortal Garrick. But when I 
see him, in that Emblematic Portrait of his fame, equally 
affected to the Comic, and the Tragic Muse; and hear, 
that he could, both by taste and habit, mask the purer 
features of his vocal nature, by an exaggerated and distorted 
mimicry, — I grieve to think that my imagination must lose a 
single ray, from the bright and welcome vision of his Ideal 
Perfection. 

Such from its very nature, must, to a greater or less ex- 
tent, be the effect of mimicry, even on the finest mould of 
nature in the unenlightened human voice. How far a full 
and accurate knowledge and use of all the means ordained 
for truth and elegance of expression, with a perfect discrimi- 
nation between the right and the wrong in speech, may ena- 
ble a speaker habitually to practice the deformities, without 
infecting the graces of utterance, must be determined by the 
opportunities of future experience. At present, it is well 
to keep the tongue away from the contaminating company 
of its own unconscious faults. For it is with our voices, as 
with our moral sense ; the habit of doing only right, most 
effectually preserves us from wrong : and it is no less dan- 
gerous, to play with mischief in the one, than to amuse our- 
selves with mockery in the other. 

Of Monotony of Voice. This is an old term in elocu- 
tion : but it is here used with a more extensive signification 



462 FAULTS OF READERS. 

than formerly. It means, in general, the undue continuation 
of any function of the voice. 

The investigation of this subject may furnish some support 
to the doctrine of expression, laid down in this essay. For 
since correct and elegant speech is effected by a varied suc- 
cession of the vocal constituents, it will afford no little counte- 
nance to this proposed system, if it be found that the violation 
of its rules, by an exclusive use of certain of these constitu- 
ents, is productive of the palling impression of monotony. 

One can scarcely point out an occasion, on which the sim- 
ple rise of the second, or the diatonic wave has this effect : 
foV according to our system these are properly the most fre- 
quent movements in discourse. The employment of the 
second in place of any other intervals may sometimes pro- 
duce an error in expression, but we do not call it monotony. 
The chromatic melody, though a continuation of the impres- 
sive interval of the semitone, is not monotonous, if the senti- 
ment is suited to its plaintiveness : but many of the other 
constituents when spread over discourse offend by this fault. 
Thus a repeated succession of the same phrases in the current 
melody ; the same kind of cadence, particularly if it frequent- 
ly occurs ; the successive use of the downward second in 
melody ; a melody formed on the third or fifth ; a restriction 
of emphasis to the third, or fifth, or octave; a constant use of 
the accent and emphasis of the radical stress, — of the vanish- 
ing stress, — of the tremor, — and of the downward wider in- 
tervals ; too free a use of distant skips in the radical change, 
both in the current and in the cadence ; the wider waves ; 
and the protracted notes of song, may each become the basis 
of monotony. In short it may be worth repeating in this 
place, that all those constituents which nature has allotted to 
the rare occasions of emphasis, seem to be protected against 
abuse, by the occurrence of monotony whenever their pur- 
pose is perverted by an undue repetition. 

Of Ranting in Speech. This fault consists in the excess 
of certain functions. These are loudness ; violence in the 



FAULTS OF READERS. 463 

radical and vanishing stresses ; and in general, an overdoing 
of the expression of any sentiments, when united with 
force. 

Of Affectation in Speech. This consists simply in a mis- 
application of the functions of the voice, whatever may be 
the system assumed as the standard of purity and excellence 
in the art. 

Of Mouthing in Speech. This belongs properly to the 
head of the faults of articulation, or deviations from stand- 
ard pronunciation; of which it is not my intention to speak 
particularly. 

Mouthing consists in the improper employment of the lips 
in utterance. 

Some of the tonic elements, and one of the subtonics are 
made by the assistance of the lips. They are o-we, oo-ze, 
ou-r, and m. When these abound, it may, without pre 
caution on the part of the speaker, lead to mouthing. All 
the other subtonics may be, to a degree, infected with this 
fault. It slightly infuses the sound of the o-we or oo-ze into 
their vocal ity ; for the protrusion of the lips, gives something 
of this character even to a lingual element. Mouthing may 
be called a mode of affectation. 

I might here give a particular description of the voices of 
Childhood and of Age : for these may be looked upon as 
faults, when compared with the full-formed, vigorous, and 
varied utterance of intermediate periods. The analysis 
which has been given will enable an observant reader to dis- 
cover their characteristics. He will find the voice of child- 
hood to be high in pitch, monotonous in melody, and defec- 
tive in cadence ; the intonation often chromatic, and highly 
colored by the wider intervals, and by the wave. He will 
find old age to be slow, with frequent pauses, slight radical 
stress, and tremor. 

I have thus described many of the faults of speakers in 
their single state. They are compounded by bad speakers, 
into all possible numbers and forms : but the permutations 
would defy every attempt towards a useful arrangement. 



464 CONCLUSION. 

The contemplation of the subject is therefore left as a task 
for the reader. 



Here I finish the history of the speaking voice. It has 
been my design throughout this work to subject nature to a 
studious examination ; and by the simple but sufficient rule 
of the senses, to unfold her mysteries with philosophic pre- 
cision. How far this has been accomplished, the intelligent 
reader must determine, with that allowance for minor errors, 
which the historian of nature has a right to claim, and which 
the liberal critic will not refuse. 

Those to whom the subject of Elocution, in its higher 
meaning, is new, will receive this history without prejudice; 
and though they may not have occasion for its practical 
rules, will still admire the beautiful economy of nature, in the 
structure of speech. Those who have spent a life of labor, 
by the little light which has as yet been set up in the art, 
and who are too proud or dull to take on a new mind, with 
the advancement of knowledge, will at least learn from this 
essay the deficiencies of the old scheme of instruction, even 
though they may not admit that these deficiencies are here 
supplied. If the development now offered, were a mere 
addition to the art, persons of this last class might be able to 
discover traces of their former opinions, and thereby have 
some reason for admitting it. But finding here a new cre- 
ation, they may reject it altogether, because they cannot re- 
cognize the definitions, divisions, rules, and illustrations of 
their familiar school-books of elocution. 

However philosophy may admire the beauty of nature in 
this scheme of the human voice, it must be regarded as a 
curiosity only, if it does not lead to some practical applica- 
tion. I have therefore endeavored, on the unalterable foun- 
dation of our physiological analysis, to establish a system of 
directive principles, and of elementary instruction. 

If we were to draw an inference from prevalent opinions, 
we would believe that the modes of a good elocution are end- 



CONCLUSION. 465 

less ; for every one with self-satisfaction thinks he reads 
well, and yet all read differently. There is however but one 
mode of reading well : and we now have the warrant of 
analysis, to show that nature herself, and not the usage of 
the school, will furnish the affective principles of that only 
mode. 

Without some acknowledged principles in Elocution, there 
can be none of that fellowship in opinion which so power- 
fully assists in the advancement of an art. For though na- 
ture would seem to have fixed certain sounds as symbols of 
thought, still the differences in practice tend to confound her 
ordination and weaken her authority. If the subject of the 
human voice be thoroughly examined, and some system be 
instituted thereon, it will beget a similarity of opinion and 
practice, and consequently greater precision in the use of 
its signs : for modes of intonation, like words, will have 
most force, when most common, and when not weakened by 
contradictory meanings. 

In collecting and framing the precepts of Elocution, I have 
taken into view both the strength and the beauty of expres- 
sion. The system represents corrected and dignified nature, 
under that form of severe simplicity, which is not at first 
alluring to him who is unaccustomed to look into the re- 
sources and effects of the arts. The art of reading, thus 
established, will be found to possess an excellence, which 
must grow into sure and irreversible favor, whenever it re- 
ceives that studious attention, which serves to raise the pur- 
suits of the wise above those of the vulgar. It would be too 
trite to tell the whole story of the great painter, who with 
his mind full of fancies on the powers of Raffaelle, was dis- 
appointed at his first sight of the walls of the Vatican, and 
disconsolate after his last. 

The florid style of elocution, which consists in a continued 
melody formed upon other more expressive intervals than 
those of the diatonic, is a natural result of that ignorance 
and of that sway of imagination and passion which prevail 
with the child and the savage. The same temper of taste 
59 



466 CONCLUSION. 

which calls for the florid manner in speech, demands a per- 
petual change in it ; and capricious alteration takes the 
place of enduring improvement. The system of plain 
diatonic melody, with the occasional contrast of expressive 
intervals, for which, as the advocate of Nature, I would 
plead, partakes of that simplicity, and that impressive influ- 
ence which an advance in the Arts, always produces. 

If this scheme of Elocution should, on the grounds of pro- 
priety or taste, be objectionable, let another be formed by 
him who is better qualified for the task. Only, let a system 
be formed. And whilst in other arts, we can turn to an 

'Apollo,' a 'Parthenon,' and a ' Transfiguration :' — 

to the Rules of the Oratorio, and to the Plans of the Land- 
scape, — let Elocution be able hereafter, not only to bring 
forward the name of a Roscius, a Garrick, a Siddons, and 
a Talma, but let it lay up in the Cabinet of the arts, an 
analytic history of the available ways and means of all their 
vocal superiority. In short, let the art of speaking-well be 
invested, through its descriptive method, with that corporate 
capacity, by the preservative succession of which, the influ- 
ence of its highest masters shall never die. 

The true spirit of fellowship among the votaries of the 
arts, and the bad temper of disagreement, turns so entirely 
on their identity of opinion, that any one who has examined 
this subject would prefer a system which deviates from the 
line of nature, but which is still a well-ordered and consis- 
tent system, as a substitute for the varying and contradic- 
tory rules which the individuals of nature would constantly 
suggest. 

The philologist, in the study and collation of languages, 
estimates those which have received their systematic form 
from the arbitrary institutions of grammar and prosody, 
above those which spring naturally from the wants and pas- 
sions of an uncultivated people. 

Where shall we find the natural prototype of Heraldry, 
which makes the enthusiast, over his armorial ensigns, delight 
in the purely invented system of the Escutcheon and its 



CONCLUSION. 467 

Charges, and read their artificial but methodic disposition, 
by all the rules of Blazonry 1 

What book' of Botany can designate that leaf and stem, 
which form the floral volute, the symmetric lotus, the acan- 
thus scroll, the varied cup, the indented leafing, and the deli- 
cate tracery, which constitute the beautiful and endless com- 
bination of ornament in Ideal Foliage. 

These three subjects are all the systematic creations of 
a rt ; and it would seem that objects of intellectual as well 
as of physical taste are often more satisfactory, when en- 
joyed through acquired appetite and approbation : and we 
know that what is called acquired appetite, is always go- 
verned by the influence of some habitual principles, however 
arbitrary those principles may be. 

Without a system of rules, either natural or conventional, 
I am at a loss to know on what criticism in Elocution is to 
be founded. Its rules have too frequently been drawn from 
the very works which are to be the subject of investigation. 
Garrick is to be tried ; and by the common law, for there is 
no statute here, the former case of Garrick is the rule of 
judgment. Happy for an art, when such authority can be 
cited ! But what is to be said when presumption pushes 
itself into the front ranks of elocution, and thoughtless friends 
undertake to support it ? The fraud must go on, till pre- 
sumption quarrels, as often happens, with its own friends or 
with itself, and thus dissolves the spell of its fictitious cha- 
racter and merits. 

The preceding analysis contains elements of instruction 
and criticism, and makes some effort towards their applica- 
tion. Pronunciation, pause, and emphasis are the only points 
of elocution which have been reduced to the precision of 
particulars : and on these only have critics been able to 
show any thing like definite censure or applause. By turn- 
ing our attention to the details of Intonation, we have yet to 
learn how far emphasis depends upon it : and when a per- 
ception of the multiplied functions of speech is awakened by 



468 CONCLUSION. 

analysis and nomenclature, we will then first perceive how 
the designs of emphasis, in the full acceptation of the term, 
may be marred by defects in the delicate schemes of melody 
and intonated expression. 

Look at a formal review of dramatic performance ; you 
will find in it, words enough, and very good grammar. You 
cannot however avoid observing a strong disposition on the 
part of the writer, to say something, when he has nothing to 
say : hence after exhausting a small vocabulary of unmean- 
ing or most general terms, sometimes misapplied, and always 
mawkish to a delicate taste, such as ' chasteness,' ' by-play,' 
'undertone/ 'freshness,' ' harmony,' ' effect,' and ' keeping:' 
I say, after hurrying over these indefinites, the writer soon 
makes his way to surer ground, in noting — the number and 
dress of the audience, — the comfort of the seats in the 
orchestra, — with thanks to the manager, for recent alterations 
in the rules of the house, — the habit of slamming doors, — and 
the noise of iron-shod boots : — the whole accompanied with 
copious extracts from some of Shakspeare's best-known 
scenes, and a reprint of one of Cumberland's criticisms. 

The preceding essay furnishes principles and definite 
terms, by which the specific merits and defects of an actor 
or a speaker may be distinctly represented ; by which the 
indescribable mysteries of speech, as they are called, may be 
told to other ages than those that hear them ; by which ar- 
rogance and imposture in this art, may be wrested from their 
hold on the better part of mankind, and their rule left undis- 
turbed over that great majority which is always ready to 
support the smaller frauds of life, and which, in its way, 
does receive a sort of pleasure from the changing pictures of 
its credulity. 

The same acute and comprehensive observation which 
makes an interpreter of nature, makes a prophet in the arts. 
He can tell us, that in the future history of elocution, as it 
now is with song, — the masters of its practice must always 
be masters of the science : that they will, with the confi- 



CONCLUSION.. 469 

dent aim of principles, address themselves to the elect of 
intelligence and taste, by whom their merits will be rated 
and their authority fixed. And if in making a fame or for- 
tune by their voice, they should receive any assistance from 
this essay, I shall be contented to think it is some contri- 
bution to the multiplied means, by which the wrrks of art 
are made to be eternally delightful to the intelligent and 
educated portion of mankind. 

Finally, I would recommend this analysis, and the prac- 
tical inferences which have been drawn from it, to those 
who declare with contra-distinguishing ascription, that elo- 
cution cannot be taught, but must be the work of genius 
alone. Such persons look upon the powers of the mind, as a 
kind of sleight : the ways and means of which are unknown 
and immeasurable. But genius, as far as it appears from 
its works, is only an aptitude for that deep, wide, and ex- 
clusive attention which perceives and accomplishes more 
than is done without it ; and therefore is not altogether re- 
moved beyond the reach of rules : though in its course of 
instruction, genius is oftenest the pupil of itself. 

Let those who are deluded by this mystic notion of 
genius, turn their eyes from impostors who cannot define 
an attribute which they do not comprehend ; let them look 
to the great Sachems of mankind, and learn from the real 
possessors of it, how much of its manner may be de- 
scribed. They will tell us that genius, in its high meaning 
is always enthusiastic : — always characterized by passionate 
perseverance ; by the love of an object in its means as w T ell 
as its end ; by that unshaken confidence in its own powers, 
which converts the evils of discouragement into the benefits 
of success ; which cares not to be alone, and is too much 
engrossed with its own truths to be disturbed by the opin- 
ions of others : with a disentangling spirit, to see things 

as they might be ; and an economy of purpose to execute 
them as they ought to be ; soaring above that musty policy 
which, in its wary tact of the expedient, would with a world- 
serving quietude preserve them always as they are : 



470 CONCLUSION. 

having the power to accomplish great and useful works, 
only because it wastes no time on small and selfish ones ; 
and passing a life of warfare in detecting the impostures and 
follies of its own age, that the next, like the consulted 
Oracle of Delphi, may pronounce it the chief in wisdom and 
in virtue. 



BRIEF ANALYSIS 



OP 



SONG AND RECITATIVE 



When the phenomena of Speech, Song, and Recitative, 
are regarded independently of verbal distinctions, they dis- 
play a nearer resemblance than is discoverable by a gene- 
ral view of their effects and names. It is the duty of phi- 
losophy to look into the real existences of things ; to break 
down many of those lines of separation which the poor 
conveniences of classification have established ; to exhibit, 
as far as available with finite resources, that clear and 
comprehensive picture of nature which is surveyed, at once 
and always, by the infinite discernment of her author himself. 

To the common ear, speech and song are totally different. 
Let us examine their relationships by an analytic comparison 
of their several constituents. 

In taking up this subject, I have no new function to re- 
present. Song and Recitative are only certain combinations 
of the five accidents of sound which were minutely described 
in the preceding history of speech. It is my design to point 
out the method of these combinations ; in order to complete 



472 A BRIEF ANALYSIS OF SONG. 

the survey of Vocal Science, by showing the similarity 
between the phenomena of its three leading divisions. 



OF SONG. 

The art of Vocal Music has long been studiously culti- 
vated ; and although it has never yet received a full elemen- 
tary analysis either of its structure or its effects, its pro- 
fessors have accumulated a mass of observation, and framed 
a body of principles for governing the great and brilliant re- 
sults of their practical execution. 

It is, at this time, beyond both my design and ability to 
offer any thing like a detailed consideration of the topic before 
us. The opportunities for inquiry on the subject of Song- 
as well as on that of all the Fine Arts, are too limited in 
this country, both as regards the higher discussions of taste, 
and the eminent examples of executive skill, to furnish any 
proposed record, in that order and with that clearness which 
always characterize a direct transcript from nature. It be- 
comes the American, in knowing himself on these matters, to 
touch those points only, which the physiology of his own 
organs may furnish, and, in this day at least, to leave the 
full description of all that the singing voice can do, to the 
ample means of European experience and education. I pro- 
pose to give only a general account of the functions of song; 
leaving it to those whom it may professionally concern, to 
make any practical application of the principles here de- 
veloped, or to pass them by, as a part of natural history 
that is more curious than useful. 

As song consists in certain combinations of the five acci- 
dents which were made the ground of arrangement in speech, 
The proposed analysis will be given under the same general 
heads : and first, 

Of the Pitch of Song. The movement of song has every 
direction and extent which was ascribed to speech, together 
with two forms of intonation, which do not belong to the 
latter. 



A BRIEF ANALYSIS OF SONG. 473 

In illustrating the nature of the equable concrete I de- 
scribed the Protracted Vanish. As a single unimpassioned 
effort, it consists of a rapid concrete-rise through the inter- 
val of a tone, and of a prolongation on one line of pitch at the 
summit of that tone. Let us call the former of these consti- 
tuent movements, the — Concrete, and the latter, the — Note. 
Of this ascending concrete, with its conjoined note, there are 
two conditions. First : when the Concrete ascends and ter- 
minates in the note, at the summit of the interval ; thus con- 
stituting the Protracted Vanish. 

Now in ascending by this combination of the concrete and 
note, through the seven places of the musical scale, the 
movement is made according to the following notation of 
time and pitch: in which I suppose the succession to be 
on the staff of the bass-cliff. 



pES= 



F^ 



i^^g 



The Second condition is, — when the Note begins the in- 
terval with its prolongation, and the concrete then rises to 
the summit of the interval ; thus constituting the Protracted 
Radical. In ascending the scale, by this combination of 
note and concrete, the progression is made according to the 
following notation. 



ST 



o4_o^: 



^ses^± 



•a*** 



Song variously employs both these movements : the pro- 
tracted radical less frequently perhaps than the protracted 
60 



474 A BRIEF ANALYSIS OF SONG. 

vanish : for the voice in its instinctive intonation, appears to 
fall more readily into the mode of the latter. Not having 
however sufficiently examined this case, I leave it for future 
inquirers. As far as regards the vocal effect or expression 
of these two forms of the protracted note, there seems to 
be no difference between them : and should no better reason 
be found for a singer's choice in taking one or the other, 
it might perhaps, in some cases, be decided by the nature of 
the elements on which it is executed. Thus the radicals 
of the dipthongs, a-we, a-h, and ou-t, have more volume 
and audible character, than their respective vanishes e-rr 
and oo-ze. Hence we may understand why a singer, having 
reference to the impressive effect of a long-drawn note, 
would prefer employing the protracted radical of these, 
and of the like compounded elements. 

The time of the concrete rise in the foregoing scales, is 
here represented by a semiquaver, and that of the note by 
a semibreve, two comparative terms in music which express 
the proportion of one to sixteen. 

There may be a simple, and a more complex structure 
of song : formed, as we shall see, respectively by the dis- 
crete and concrete movements of the voice. 

As the successions of pitch in song when formed according 
to the preceding scales, are made by a transition either to 
proximate or remote degrees, without the continuous slide 
from one degree to another, a vocal melody founded on 
these scales, may be called Discrete Song. 

In this kind of melody, the length of the note, when com- 
pared with the concrete is different, according to the re- 
quisitions of time in the air to which it is sung. Its long- 
est quantity may exceed the proportion represented in the 
above scales. Its shortest, as in quick-timed songs, changes 
the syllabic movement to an equable concrete ; the voice 
becoming altogether concrete by the obliteration of the 
note. 

The foregoing is the most simple form of pitch as regards 
the interval of the concrete. The next is that of a con- 



A BRIEF ANALYSIS OF SONG. 475 

crete of greater extent than a tone. In this way, several 
different scales might be represented, each consisting re- 
spectively of the concrete of a third, — of a fourth, — of a 
fifth, — and of wider intervals ; with a protracted radical or 
vanish severally connected with them. Let the reader by 
the preceding examples draw a similar rising progression 
through the seven places of the scale, with the concrete 
of a third ; — then another of the fourth ; and so on through 
the whole compass of the voice; for song, in its more elaborate 
execution, makes its flight on the concrete, through distances 
far beyond the limit of the octave. 

The following diagram, represents, in succession, eight 
forms of the protracted vanish ; with a concrete, varying 
from a second to an eighth : and a wider range of the con- 
crete might be exhibited, for song occasionally uses it. 
Having given above, a full scale of the concrete of a second, 
with its protracted vanish, it is unnecessary to form a 
full scale of each of the other intervals. The reader can in 
his mind or on paper, do this for himself. 




&¥& 



p 



Now if we take this diagram, with the page inverted, it 
will exhibit the notation of a Protracted Radical with an 
issuing concrete of the several intervals of the scale. Thus 
we have a representation of all the modes, in which the pro- 
tracted radical and protracted vanish, with their rising con- 
cretes of every extent, are used in song. But song likewise 
employs the downward concrete in connexion with the pro- 
tracted notes ; and of these movements there are two con- 
ditions. The First descends by the concrete, and terminates 



476 A BRIEF ANALYSIS OF SONG. 

in the protracted note. The Second, on the contrary, be- 
gins with the protracted note, and then descends by the 
concrete : — as in the following illustration : 



First Condition. Second Condition. 



U c fgj J ^i 



There are then in song, two modes of the rising and two of 
the falling movement : severally formed by a union of the 
concrete of every interval respectively with its protracted 
note: and what was remarked concerning the length of the 
note, in the scale of the concrete second, may be said of all 
the others with their different intervals, — that the proportion 
between the note and the concrete so varies that the former 
sometimes disappears altogether, and the movement becomes 
like the equable concrete of the rising and falling intervals 
of speech. 

Let us suppose this last form of the concrete, without the 
appendage of the note, to be united into one continuous line 
of contrary flexure. This produces the rising and the fall- 
ing Wave of song: and in as much as we have concretes of 
every interval and of every direction, so they may be com- 
bined into every form of the wave. 

There are also continued movements, in which the waves 
of every interval, whether direct or inverted, may begin 
with a protracted note, or end with it ; or have it at both 
the extremes. 

Song likewise employs the Tremulous scale, on the pro- 
tracted note, the concrete, and the wave. 

As regards its pitch then, song may be classed under two 
divisions, First : 



A BRIEF ANALYSIS OF SONG. v 477 

Discrete-Song ; as we called the progression of a melody- 
formed entirely of the protracted radical, or of the protracted 
vanish, with the concrete of a second or tone. Secondly: 
what we here call — 

Concrete-Song; consisting of a continuous movement 
through the wider intervals, both in an upward and down- 
ward direction ; mingled with protracted notes, and the 
various forms of the wave. 

This is the proper place to consider the subject of articu- 
lation in song, since it is the management of pitch which 
secures the distinctness of this function. 

It was shown, that one of the requisites for distinct pro- 
nunciation in speech, is a just apportionment of the concrete, 
to the literal elements. The audibility of the words in song 
depends in part upon the same principle : for the peculiar 
nature of the protracted note of pitch does not alter the mode 
of syllabication. The correct articulation of song, however, 
requires a further attention to the accentuation of words, 
and to their syllabic quantity. But the management of 
these matters lies with the composer and the poet. I have 
only to remark, that where the accent and quantity of sylla- 
bles are adjusted to the accent and time of composition, song 
may be made as articulate as speech : and that with a full 
knowledge of the voice, together with the required diligence, 
any qualified person may learn to sing, with as distinct 
an articulation as he speaks. Writers on vocal science 
have extensively treated this subject ; yet the same pre- 
ceptive page which enjoins its importance, directs that 
the vowels should, principally compose the strain of utter- 
ance. The vowel or tonic sounds have indeed the purest 
quality for song: but it is also certain, that a syllable is 
known only through a perception of its proper accent, and 
of the time allotted to each of its elements. Thus the 
purposes in these cases seem to be at variance. It is the 
vocalist's duty to reconcile them, by making distinct articu- 
lation agreeable. 



478 A BRIEF ANALYSIS OF SONG. 

These are the general functions of song as regards Pitch. 
The manner of using them, and the mode of their junction 
with other accidents will be described hereafter.* 

* Upon a review of our analysis of the intonation of speech and song, it seemed 
to me that the effect of the discrete scale of the latter might be produced on some 
musical instruments. 

I had designed to connect a square organ-pipe with its finger-key, by means of 
compound levers, so that the same touch which raises the wind-valve should, at a 
succeeding moment, raise a shutter on one side of the pipe at its open end ; the 
object of this shutter being to cover an oblong aperture, reaching from the very 
end of the pipe, so far towards its sounding-lip,. as to raise the pitch a tone or 
second when the shutter should be opened. 

Now this shutter having its centre of motion towards the sounding-lip, was to 
overlap the edges of the oblong vent: but the plug which was to shut into the 
vent with a rebate, was to be wedge-shaped, with its sharp angle towards the 
end of the pipe; so that when the shutter, together with the wedge as the 
under part of it, should be raised, the vent would be gradually opened, and the 
intonation be thus made to ascend with a concrete movement. When the shut- 
ter should be entirely opened, the long note then produced, immediately following 
the concrete, might give the instrumental execution of the protracted vanish. 

In the transitions of melody with such a contrivance, it would be necessary that 
the valve in the wind-chest should be made to close before the shutter, otherwise 
the gradual descent of the shutter, would make a falling concrete, on every note. 

I have thus suggested the principle on which an experiment may be tried by 
those who have ability, time, and convenience for such works : and there are 
other ways which persons of mechanical cleverness may contrive, for producing 
the concrete movement on a sounding-pipe either of metal or wood. 

I am not altogether convinced that this mode of mechanism might not be con- 
nected with the vox-humana stop of an organ, or even the ventages of a bassoon. 
If this is practicable, it may give to instruments a little more of the character of 
the singing voice than they at present possess. 

I cannot say how much further the principle might be applied, for adding the 
wider ranges of the concrete, by a vent of greater dimensions in the pipe. The 
mechanism even for the Second would not be simple, and the management of 
more than one concrete-key, if I may so call it, might be beyond the dexterity of 
the plaver. What could be done on barrel-organs, machinists can best tell. 

Automaton Figures have been made to speak, as it is called ; but it is in a pro- 
tracted note which produces song. Would not the imitation of speech be nearer, 
if the sound were by its instrumental cause, formed into the equable concrete? 

On the whole, I shall i e sorry if any one should lose his labor by a vain work- 
ing at this problem. It is not the odd ends of time that ever did any thing well: 
and if the schemer should be disposed to devote one useful day to the wasteful 
hazards of mechanical ingenuity, in such matters as here proposed, let him take, 
at the same time, the hint of caution. 



A BRIEF ANALYSIS OF SONG. 479 

Of the Time of Song. This accident is here considered, 
only in relation to the individual functions, and not to the 
general construction of melody and its rythmus. 

Time is used with every degree of duration, — on the 
note, — on the upward and downward concrete, — and on the 
wave. When it is so short as to exclude the note, as 
it happens in quick timed song, the effect of the mere indi- 
vidual act of intonation, does not differ from that of the 
equable concrete of speech. 

Of Quality of Voice in Song. Quality of voice is the 
same, as regards its character and effect, in song and in 
speech. But since the long quantities of the former consist 
of the protracted vocality of the tonics, it renders the quality 
more conspicuous, and subjects it to more rigorous scrutiny. 
There are harsh, full, slender, and nasal voices,and that which 
is called in the language of the schools, Pure Tone. This sub- 
ject is however so well known in the practical discrimina- 
tion of singers, that it needs no further consideration here. 

There is a subject of physiological inquiry, connected 
equally with song and speech, but which has been reserved 
for this place. 

It is known that with a few trials, all the tonic and most 
of the other elements may be made individually by the act 
of Inspiration. The quality is indeed strangely altered from 
the customary mode of the speaker, but the characteristic 
sound is complete. It would seem then that the vocal 
functions are practicable both in the ebb and the flow of 
respiration : but the former has been universally appointed 
to carry out the continued current of speech. Now as the 
act of inspiration permits the utterance of but a single word, 
or at most three or four, the effort of inward speech resem- 
bles that which occurs with infants, upon their first essays 
in expired speech. We have not for the purpose of in- 
ward speech, the Holding-breath, as we formerly called it, 
and therefore the act of inspiration immediately fills the 
lungs, reversely, as the Exhausting breath with the infant 
drains them, and thus cuts off the course of utterance. 



480 A BRIEF ANALYSIS OF SONG. 

It may then be made a question, — whether by a practice 
as long and assiduous as that which gives a command over 
the time of expiration, the same holding breath might not be 
attained in inspiration ; and, should the quality of this in- 
ward voice, be improvable, whether it might not be em- 
ployed in the purposes of singing, to aid in sustaining the 
voice indefinitely, and for insuring a continuous intonation in 
the higher intricacies oi execution. It is certain that this 
power has been attained in whistling, both as regards shrill- 
ness, and the accuracy of pitch : and though in this case, the 
command over the holding breath of expiration, far sur- 
passes the command over that of inspiration, still, the turning 
point for inhaling may be rendered almost imperceptible, 
through the controlling power that does exist. 

Of Force of Voice in Song. This accident has refer- 
ence either to the general drift of the voice, or to its indi- 
vidual movements. We shall consider it only in the latter 
relation. 

All the modes of stress formerly ascribed to speech are 
found in song. This is true not only as regards the equable 
concrete, which is sometimes used in the short impulses of 
the singing voice : but the radical, the median, and the 
vanishing forms of force are applied upon the concrete when 
connected with a protracted note, and upon every course 
and extent of the wave. 

The full and abrupt radical being always preceded by an 
occlusion, it may have a place at the outset of all the forms 
of the concrete; and of the protracted radical, when it is 
found in song; or at the opening of the note, which is repre- 
sented in the second condition of the preceding diagram. 
That note which terminates a rising or a falling concrete 
cannot receive this mode of force. 

The greater duration of time which may be allotted to the 
different forms of the concrete and to the protracted notes, 
beyond what is allowable in speech, gives rise to a modifi- 
cation of the median stress or swell which does not belong to 
the syllabic concrete of discourse : for more than one of these 



A BRIEF ANALYSIS OF SONG. 481 

swells may be set on the same note ; that is, the force may 
diminish and increase alternately. The median stress may 
also on a protracted quantity, exhibit a structure resembling 
the radical and the vanish, by suddenly enlarging in the 
course of the prolongation and gradually diminishing, and by 
the reverse. 

The vanishing stress is principally set on the equable con- 
crete, when it makes the short syllabic intonation of comic 
song. 

But the most remarkable use of force in song, is made by 
the compound stress, in that vocal ornament called the Trill 
or Shake. 

The shake is defined to be a rapid alternation of a lower 
with an upper note, on proximate degrees of the diatonic 
scale. In other words, it is a rapid alternation of two im- 
pulses of sound, on the extremes of a tone or a semitone. 

We have learned that every vocal impulse consists of a 
radical and vanish. Consequently, when two alternate im- 
pulses occur on different degrees of pitch, each must exhibit 
its essential portions of the concrete. But as the radical 
with its vanish consumes more time than the impulse of a 
single radical ; and as that radical is an abrupt opening, 
after an occlusion, there would be, in this manner of making 
the shake, a delay in the whole time of the respective con- 
cretes, as well as a momentary pause between them. Now 
the shake being a rapid iteration of impulses, without appa- 
rent interruption, it cannot be made by a series of impulses, 
each of which has its radical and vanish. For let a singer 
try to execute a shake on the diphthong a-\e ; he will find 
that he cannot give the characteristic rapidity, when he 
makes the first sound of a-le, the beginning of each of the 
successive impulses. 

The rapid execution of the shake, and the momentary na- 
ture of its impulses, make it a difficult subject of investiga- 
tion. The resemblance of the intonation of a vocal, to that 
of an instrumental shake, affords a proof that the former like 
the latter, consists of two impulses on different degrees of 
61 



482 A BRIEF ANALYSIS OF SONG. 

pitch. It also appears, from the like illustration by an instru 
ment, that the impulses though of different degrees of pitch, 
are of equal time, volume, and force. Now the formation of 
the shake, thus constituted, may be described under two 
modes. In which, the delay, arising from each successive im- 
pulse having both a radical and a vanish, is obviated by 
the use of the compound stress. For by the first mode : let 
the summit of the concrete, or the vanishing portion, be en- 
forced to an equality with the radical. We shall then have 
two impressive sounds, at the extremes of a proximate in- 
terval, joined by a smooth transition of the fainter concrete, 
and forming the two first impulses of the shake; which, in 
this case, are both made in the time required for one impulse, 
when that impulse contains a radical with its natural vanish. 
Now as the vanishing stress, or the upper note, is terminated 
by an occluded catch, as in the sob and hiccough, the voice 
is enabled by an immediate opening of that occlusion, to 
begin a new radical or lower note. Thus, by breaking from 
the occluded vanish into the radical, and saving the time of 
transition from one whole concrete to another, the rapid and 
apparently united impulses of the shake are effected : as re- 
presented in the following diagram. 



to 



When made in this way, the shake may be considered as 
a rapid iteration of the compound stress, on successive inter- 
vals of a tone or of a semitone. 

In the second mode of forming the shake, let us take 
the two first of the iterated impulses of the compound stress, 
as described above. Deliberate trial will prove that an 
application of stress to the upper extreme of the rising, 



A BRIEF ANALYSIS OF SONG. 483 

and to the lower extreme of the falling concrete, can, in 
no way, prevent the voice, from making a downward 
continuous turn, in the one case, and an upward conti- 
nuous turn in the other,— into the form of a continued 
wave: and thus by an alternate succession of these radical 
and vanishing impulses, joined by the fainter concrete, we 
are able to effect the rapid iterations of the shake : as re- 
presented in the following diagram. 



^BSSIJ^ 



Under this view, we may define the shake, to be 

A rapid alternation of the compound stress, on the rising 
and falling constituents of a continued wave of proximate 
degrees. And thus we learn, that the iterated sounds are 
not notes, but emphatic stresses, of no assignable time, on the 
points of contrary flexure in the wave. But as there can be 
a sudden fulness of the voice, only on the first outbreak of the 
radical, an engrafting of stress on the concrete must be by a 
gradual swell into the fulness of that stress ; and as the re- 
duction of force, is made in a like gradual manner, the con- 
crete junction of the compound stress, has the form which 
is represented in the diagrams. From the manner in which 
the stresses are joined by the diminution and swell of the 
concrete ; and from the gliding of one into the other, we 
may perceive the causes of the smoothness, and of the 'liqui- 
dity,' as it is called, of a skilful and finished execution of this 
vocal ornament. From the peculiar mode of combining 
stress with rapid intonation in the shake, not being part 
of the natural uses of speech, it is not surprising that the 
power of executing it, is unattainable by some, and only 
acquired, in any case, by great industry and perseverance. 
As the compound stress is practicable on every interval, so 
a shake might be composed of a rapid iteration of that 



484 A BRIEF ANALYSIS OF SONG. 

stress on the extremes of wider intervals: and indeed, 
such movements are sometimes heard among the tricks of the 
Florid song : but they are not technically classed with that 
ornament. 

Such is the result of the foregoing attempt to analyze the 
stress and intonation of the shake. But after all, I am 
not able to give an unquestionable description of it. By a 
slow and measurable movement of my own voice, I per- 
ceive that it can be made in each of the modes above pro- 
posed. But when it is quickened to its characteristic ra- 
pidity, the distinct measurement of its structure and mo- 
tion is lost, and I find it impossible to decide, which of 
the modes is employed. 

There is another occasion, on which the compound stress 
is used in song. 

When an extent of the whole compass of the voice, 
greater or less than the scale, is rapidly traversed, but with 
a marked designation of each degree in the flight, it is called 
* running a Division.' Now as we have seen, in the forma- 
tion of the shake, that these adjoining points of the scale 
cannot be marked rapidly, by a single impulse that contains 
both the radical and the vanish ; it is necessary, in the 
execution of a Division, that the compound stress should be 
used. It may be employed in the two several modes, proposed 

for the formation of the shake. In the first, the concrete 

between each successive degree, receives the radical abrupt- 
ness, and the vanishing occluded catch. This last occlusion 
prepares the way for a second radical, and thus by successive 
concretes of compound stress, with a momentary catch be- 
tween them, the degrees of the Division are rapidly traversed, 

and distinctly marked. For the second mode, we must 

suppose the voice to make a concrete movement, through 
the whole extent of the designed Division; and the swell of 
an emphatic stress to be applied, without a catch, to each 
of the proximate degrees of the scale, within that extent. 
This may be illustrated, by supposing the chain of oblique 
figures in the second diagram of the shake, to be drawn out 



A BRIEF ANALYSIS OF SONG. 435 

to a straight line, so as to represent the stresses on a rising 

or a falling scale. We may then define a Division to be, 

A rapid iteration of the compound stress, on every proxi- 
mate degree of the scale, for a given extent, in an upward or 
downward direction. 

There are various modes in which these divisions may be 
run ; for in long sweeps of agility, the whole compass of the 
voice, may be passed through in one continued chain of up- 
ward or downward movement ; or the progress may be less 
extensive ; or it may be made by groups of two or three or 
four impulses, with a pause between the aggregates. In short, 
the compass may be traversed in numberless ways, by the 
pitch, and time, and mode of succession, of the impulses. 
Sometimes a division is made by the proximate step of a 
semitone : but whatever the movements may be, they are all 
performed on the principle of the compound stress. 

Of the Melody of Song. Having described the forms of 
pitch, time, and stress, we may now take a general view of 
their combinations. 

The structure of melody exhibits every variety in the num- 
ber of its constituents, and in their interchangeable union, 
from the use of a protracted note with its almost imper- 
ceptible concrete of a second, which we call the Discrete- 
song ; to that utmost employment of the concrete, and of the 
compound stress which constitutes the ' airs of agility' or 
' florid execution.' I thus indicate a methodic distinction be- 
tween these modes of melody ; but this serves only to mark 
the extremes of a varied process, since song is scarcely ever 
heard in the strictly discrete form ; and when once the con- 
crete movement of wider intervals than the second is admit- 
ted, no definite line of separation can be drawn between the 
execution of this still simple condition, and of its more com- 
plicated structure. 

In general terms then, and without pretending to describe 
the confines of each, I would call the Discrete-melody, that 
which moves by proximate degrees and by skips, under the 
form of intonation which is represented by the two first scales 



486 A BRIEF ANALYSIS OF SONG. 

of the protracted radical and vanish : and showing occasion- 
ally, because it can scarcely be avoided, a concrete move- 
ment of some of the wider intervals. This is the mode of song 
used by the Church, when the choir is conducted by the con- 
gregation. It is suited to the general ability of the whole, 
and resembles the mere instrumental effect of the organ 
which accompanies it. 

I would call the Concrete-melody, That disposition of 

the note,, and of its varied connexion with the concrete, 
and the compound stress, which constitutes within due bounds 
of combination, the expressive powers of song; and in its 
higher condition, the extraordinary but unmeaning flights of 
the most elaborate composition. 

Of the Expression of Song. Expression in song is the 
power of exciting certain intense feelings by means of the 
pitch, time, force, quality, and abruptness of sound. 

It appears from this definition that the materials of ex- 
pression in song are the same as those in speech : though 
some difference will be found in the special employment of 
them in the two cases. The Italians, who have taught us 
almost every thing in music, have divided their song accord- 
ing to the style of its execution ; the places in which it is 
displayed ; and the sentiments it expresses. I am only hint- 
ing at an arrangement, upon the points of its rudimental 
functions. 

In a general view of the subject of expression, we find that 
the dignity of Song is produced by the same fulness in 
quality, length of time, and gravity in pitch, which give an 
elevated and solemn character to reading. There can be no 
grandeur in that melody which employs the reverse of these 
conditions. 

A lively style of song, on the contrary, like the spright- 
ly manner of discourse, is made by a lighter quality; a 
quicker time ; a higher course of pitch, and a greater 
variety in its successions. The Aria Buffa or the Comic 
Song, generally consists of such short quantities, that most 
of its syllabic impulses are made in the true equable con- 



A BRIEF ANALYSIS OF SONG. 487 

crete of speech. Independently of its measure, the only 
reason why in some cases we know it to be song, is be- 
cause the concrete and the radical pitch consist of wider 
intervals than belong to the current of speech. 

The plaintive effect of the semitone, and of the minor 
third, which is only a peculiar position of the semitone, is 
similar to the chromatic character of spoken melody. Per- 
haps we ought to consider the expression of the cadence 
as identical in these two uses of the voice; since the return to 
the key-note, which is constantly occurring in song, does, like 
the intonation at the periods of discourse, produce the agree- 
able feeling of satisfaction and repose. 

Let us take another view of this subject ; and speak of the 
different kinds of melody. 

The Discrete-song is not without expression, though it falls 
short of that which is effected by a judicious use of the 
more impressive vocal movements. Its sources lie in quality, 
pitch, time, and stress. 

There is something in the mere sound of a prolonged 
note, which may give a peculiar character to song. Ful- 
ness produces solemnity ; smoothness excites the idea of 
grace ; and in the grotesque efforts of the comic song, the 
extreme and distorted variations of quality give rise to a 
sense of the gay or the ridiculous. As regards quality, the 
principles of expression are similar in speech and song : but 
perhaps the effect of quality is more obvious in the latter. 

The expression of Pitch consists in the transition through 
certain intervals. The discrete-melody can therefore display 
the plaintiveness of the semitone, and of the minor third ; 
and the more energetic effect of the other intervals of the 
scale. 

The Discrete song may, by its Time, be either grave or 
gay. It appears that the longer quantity of song is more 
agreeable than the short syllabic impulses of speech, even 
when they each have the same order of pitch. This perhaps 
arises from an association of the protracted notes of song, 
with the effect of long quantity in speech : for extended 



488 A BRIEF ANALYSIS OF SONG. 

quantity is always the sign of some strong or dignified 
emotion. 

The radical and the median stress are applicable to the 
protracted note of the discrete-melody : but it is the varied 
mode of the swell in the latter, which constitutes the princi- 
pal means of expression. 

Some of the more moderate forms of the wave may be 
admitted into what I have called, without assigning a very 
definite boundary to its nature, the discrete-song. 

From some very general descriptions, and some known 
particulars of the Greek song, it might be inferred that its 
melody was of this discrete class ; enriched with all the 
forms of expression which are admissible into its structure.* 



* I once contemplated subjoining to this essay, a discussion of the subject of 
Greek accent. But perhaps the obscurity, the inconsistencies, and the meager 
philosophy of this worried topic of classical heresy and faith, are now sufficiently 
apparent, by the light of our preceding analysis. The self-delusions of national 
vanity are peculiar to no age or people: and one can see about him every day, enough 
of the boast of empires and of men, to make him scrutinize the rolls of fame which 
were blazoned by the same genus of vain glory and of credulity, two thousand 
years ago. 

We know all the stories about barbarian ambassadors being delighted with the 
mere music, of a language which they did not understand: and of that universal 
acuteness and 'proud judgment of the ear,' which made the Athenian herb- 
women and porters speak with all the purity of the Academy. But we should 
have other proof than the report of Greek historians : and should find them 
writing with more fulness and precision, on a subject they are said to have un- 
derstood so well, before we believe that in this matter they were at all superior 
to ourselves. 

If one were even disposed to believe in the vocal perfection of the Greeks, 
through any other than their own testimony, he might well question the autho- 
rity of their Roman eulogists : since they themselves, the pupils of the Greeks, 
display no better analysis or system in their institute of elocution. We may 
fairly estimate their discrimination, when we know, that with the same pen 
which deals out the extravagancies of praise upon the oratorical action of their 
masters, they gravely give us, as a proof too of their own nicety in vocal matters, 
the story of one of their famous orators having occasion for a Pitch-pipe: to ena- 
ble hirn to recognize his own voice, and to govern his melody, through the more 
acute perceptions of a slave, who now and then blew this little regulating trumpet 
at his elbow. 

Should I be obliged to hold an opinion upon the subject of ancient accent, 

the fixed appropriation of its acute, grave, and circumflex signs to syllables, being 



A BRIEF ANALYSIS OF SONG. 489 

The character of the Concrete-song appears in various 
degrees, from the limits of the style last described, to that 
intricate composition of the vocal constituents which de- 
feats their purposes, by an annihilation of all meaning and 
sentiment. 

The expression of this melody includes all those effects, 
enumerated in the account of the Discrete : with the addition 
of more extended and delicate means. The further employ- 
ment of the radical and median force on the rising and fall- 
ing concrete, as well as on the wave, adds a brilliant variety 
to the effect. We have in the Bravuras and Volatas of this 
kind of song, all the extraordinary coloring of the compound 
stress, in the production of the shake, and the almost infinite 
forms that Divisions assume in their play with time and 
pitch. It likewise commands those powers of expression 
which are derived from the Tremulous scale, both through 
the plaintiveness of the semitone, and the laughing movement 
of wider intervals. 

As song employs in its composition, the expressional modes 
of speech, one would suppose that certain movements 
must have in each case an identical expression. But it is 
not always so. We have learned that some functions repre- 
sent the same sentiments in both. There are, however, 
many forms of intonation which lose their meaning and force 
when transferred to song. On the subject of the vocal signs 
of the passions, it was shown that their design is not only 
modified by the descriptive agency of words, but in some 
instances is purely dependent upon it. This was illustrated 
by reference to the voices of birds : but song affords a more 
satisfactory proof. For since its elaborate structure does 
employ all those forms of concrete and of radical pitch, 
together with the wave, which produce the expression of 

utterly inconsistent with a proper or elegant system of intonation, would induce 
me to believe, that the Greeks and Romans did always mean stress, by their idea 
of the accentual function : but that they had connected with it a crude theory of 
pitch, formed perhaps out of some fragments of Egyptian science, which they 
themselves did not thoroughly understand. 
62 



490 A BRIEF ANALYSIS OF SONG. 

speech, we ought during the varied course of its melody, to 
be constantly recognizing the vocal signs of interrogation, 
surprise, positiveness, sneer, contempt, and raillery ; whereas 
the song which makes the freest use of these symbols never 
conveys the above named sentiments, except it is joined to 
language. 

Song is, nevertheless, powerfully expressive ; and it is so 
by the use of these very concretes, and quantities, and waves, 
and abrupt and swelling stresses, which give the sentimental 
meaning to speech. Persons who enjoy the melody of song, 
will say that the emotions created by it are so far indefinite, 
that they are not able to refer them to any other source, 
than that of feeling or association, nor to reduce the signs of 
expression to such classes as have long been perceived in 
speech, though they have never been named. 

Upon this subject, I would ask two questions. Has 

song a system of expression properly its own, and does our 
indefinite perception of its points, arise from this system never 
having been analyzed and rendered familiar and specific 

by names ? Or does the expression of song depend on 

an association between its vocal movements, and those of 
speech: the former assuming the agreeable effect of the latter, 
without their definite meaning? 

We are now prepared to sum up the differences between 
song and speech. 

The Discrete-melody of song, though the least removed 
from speech, is still remarkably distinguished from it, by the 
effect of the protracted note, and by the more frequent occur- 
rence of wider transitions in the radical change. 

In the Concrete- melody of song, under its most complica- 
ted form, for I thus choose an extreme case, the difference 
consists in the sort, number, and uses of its movements. The 
range of its melodial compass exceeds that of speech. The 
compound stress, in the form of the shake, and in the rapid 
run of divisions, is the most frequent constituent of airs of 
agility ; but is never used in quick time by the speaking 
voice. The only function common to both is the equable 



A BRIEF ANALYSIS OF SONG. 491 

concrete, which is sometimes set to the short syllables of 
song; though it is not then recognized as a feature of speech. 
The wider waves, too, are occasionally used for emphasis in 
discourse : but the combination of the upward and down- 
ward concrete into this movement, occurs perpetually in the 
florid song. 

We are now able to comprehend, why persons wha sing 
with the greatest execution, are rarely or never good read- 
ers. One cause may be assigned in the difference of the 
respective movements; particularly the want of the full 
command over the equable concrete in all its modes of time, 
by singers, since they rarely employ it except for the short 
quantities of the comic song. But the principal reason why 
those who are distinguished by great vocal flexibility, in ela- 
borate composition, are generally very indifferent actors, is, 
because this intricate execution is always made with a sacri- 
fice of expression. It has been shown that on some points, 
the expression of song and of speech is identical ; and that 
even when song does not convey the special sentiments of 
speech, by the use of its intonations, still it has a meaning 
of its own, however indefinite it may be. But the practice 
of the Bravura song, with some rare exceptions, exhibits a 
total disregard of the instinctive intonation of passion. In 

it, long and short quantities, the radical explosion and 

the median swell, the diatonic succession and the chro- 
matic, the plaintive and the laughing tremor, the va- 
rious forms of the wave, concrete transitions and dis- 
crete skips, from the deepest bass to a piercing falsette, are 
made to play with each other in every mode of permuta- 
tion. In short, as the voice, like the throat of the mocking- 
bird, mingles all its possibilities, without regard to design, 
the singer thereby confuses that natural association between 
sentiment and symbol, which good speaking always requires, 
and which should also be the characteristic of song: For the 
habitual practice of the Bravura, equally with that of Mimic- 
ry, perverts or destroys the original purpose of expression 
in speech. If I had the opportunities of European experi- 



492 A BRIEF ANALYSIS OF SONG. 

ence, I might speak with more universality and precision ; 
but, as far as I have observed, singers who excel in the florid 
execution, are not often gifted with nicety or comprehensive- 
ness of conception, nor with that sensibility which sometimes 
accompanies a delicate organization of ear. For the tem- 
perament of a singer can as readily be perceived, in his pecu- 
liar management of time, stress, and intonation, as the mind 
and feeling of a writer can be gathered from his style. 

The nature of a musical ear, seems to depend upon the 
exercise of attentive observation by this sense : and though 
our analysis indicates, that high accomplishments in elocu- 
tion must always be grounded on its discriminations : still 
the training of the ear, by those who excel in the affected 
difficulties of the Florid song, and the character both of 

taste and feeling, which thereby become habitual, must 

in a great measure, destroy that natural association between 
sentiment and vocal sign, which produces the proper expres- 
sion of speech. There have been Actors, such, as under an 
enlightened system of dramatic instruction, might have en- 
tered into the philosophy both of passion and speech, 

who have been skilled, to a certain extent, in the concrete 
song; and who, by discipline, could have reached the flexi- 
bility of florid execution. But we have reason to believe, 
that had this power over the intricacies of song, been habi- 
tually exerted, it must have destroyed that command over 
the equable concrete, which would have enabled them to 
give their consummate intonation to the language of the tra- 
gic poet. Mrs. Siddons might perhaps have joined voice 
with the incomparable Mara, in the expressive songs of Han- 
del or Mozart, without impairing her power over Shaks- 
peare. But she would have been lost forever to all the 
mind and soul of speech, had she been trained with Cata- 
lani, to that wonderful facility which was able to outstrip 
even the fashion-serving contrivances of the composers of 
the day. 



A BRIEF ANALYSIS OF RECITATIVE. 493 



OF RECITATIVE. 

The term Recitative is applied to a mode of intonation 
used in certain dramatic and vocal compositions. It had its 
name from being appropriated to narrative or recital, in con- 
tradistinction to the mode of intonation in song, which was 
considered as adapted to the language of sentiment or pas- 
sion. Recitative is however employed at present in the Ita- 
lian Opera, as the means of expression, as well as for the 
common purposes of the dialogue. 

Nothing has puzzled musical logicians more than the at- 
tempt to define this term. 

Rousseau, in his dictionary, speaks of it thus : — * Recita- 
tive. A discourse recited in a musical and harmonious tone. 
It is a method of singing which approaches nearly to speech, 
a declamation in music, in which the musician should imitate 
as much as possible, the inflexions of the declaiming voice.' 

Busby gives the following definition : — ' Recitative. A spe- 
cies of musical recitation, forming the medium between Air 
and rhetoricahdeclamation, and in which the composer and 
performer rejecting the rigorous rules of time, endeavor to 
imitate the inflexions, accent, and emphasis, of natural 
speech.' 

One calls * Recitative — a kind of singing that differs but 
little from ordinary pronunciation.' 

Another says, — ' Recitative is speech delivered through 
the medium of musical intonation.' 

Whilst others, still more general, describe it as ' sing- 
ing speech,' and ' speaking song.' 

Before we know what we require in knowledge, we never 
perceive how little satisfies us. But we now have learned 



494 A BRIEF ANALYSIS OF RECITATIVE. 

enough, to authorize us to say, that all these definitions, 

though written to instruct, contain no further explanation, 
than might be given by the humblest auditor at an oratorio. 
By the terms of all these definitions, Recitative is somehow 
made up of speech and song. Now the elementary move- 
ments of song had, in a degree, been known and described ; 
and therefore the meaning of its term in the definition, might 
have been intelligible. But, as regards a knowledge of the 
nature of speech, on which these definitions are in part con- 
structed, let us hear Rousseau, under the very article we 
have quoted above. * The inflections of the speaking voice* 
says he, ' are not hounded by musical intervals. They are 
uncontrolled, and impossible to be determined. 9 

An understanding therefore of the nature of Recitative, 
through the nature of its mingled or interwoven constituents, 
song and speech, the latter of which was thus declared to be 
utterly inappreciable, must with Rousseau at least have re- 
quired some other powers of comprehension than those we 
at present possess. For having no perception of the charac- 
teristics of one of the constituents, his idea of Recitative 
seems to have been, if I might be allowed to jest, not unlike 
that of our personal acquaintance with the heads of a 
family, the father of which is married to an invisible 
woman. 

In general definition, Speech, Song, and Recitative, 

are varied modes of intonation ; deriving their specific differ- 
ences from the number, kind, and combination of their res- 
pective vocai movements. Having described the melodial 
peculiarities of speech and song, let us by the same light of 
analysis, endeavor to point out the characteristic intonation 
of Recitative. 

The plainest form of what is called Recitative, for its form 
varies, is at once distinguishable from speech and song, by 
the following mode of its construction. 

First It has no symmetrical rythmus or musical measure 
in the progression of its melody. 



A BRIEF ANALYSIS OF RECITATIVE. 495 

Secondly. It employs the protracted radical, the protrac- 
ted vanish, and the wave, on long quantities, and occasion- 
ally the equable concrete on short ones. 

Thirdly. Its melodial intervals, or the discrete move- 
ments of its radical pitch, are of every extent, both in up- 
ward and downward transition. 

Fourthly. It employs the means of time, force, and quali- 
ty of voice. 

These are the simple forms, constituting Plain Recitative: 
and the following are some of the principles of their appli- 
cation. 

The melodial succession consists of phrases of the mono- 
tone, and of every interval, even to the rising and falling 
octave : and these are so intermingled and disposed, as to 
effect a continued variety. Thus its melody exhibits no 
systematic distinction between a diatonic ground-work, and 
the emphasis of wider intervals, such as gives effective power 
and dignity to speech : the successions of pitch being rather 
according to the promiscuous mingling of song. I have not 
been able to recognize, in what is called unaccompanied re- 
citative, any application of the doctrine of key ; its melodial 
relationships having in this respect the characteristic of 
speech. The cadence or full pause is made by phrases of 
every form, from the monotone, to the rising and falling dis- 
crete octave: the current melody, and the cadencial phrases 
consisting, for the most part, of the protracted radical, or 
protracted vanish, with an occasional rising and falling con- 
crete and wave. 

Such being the structure of Recitative, it is conclusive, 
that the power of expression must fall far below that of 
speech. Making the intonations of the speaking voice, which 
it pretends to borrow, the measure of this power, the only 
forms of expression which I have been able to perceive, in 
the plain mode of Recitative above described, are included 
under the following heads. 

First. The expression of slow and of rapid utterance ; 
and of long and of short quantity. 



496 A BRIEF ANALYSIS OF RECITATIVE. 

Secondly. That of the degrees of force ; both as to em- 
phasis and drift. 

Thirdly. That of quality; particularly of guttural vi- 
bration, and aspiration. 

Fourthly. That of intonation ; — by the employment of the 
discrete rising fifth or octave, for inquiry ; — of the downward 
skip, for positive or imperative declaration ; and — of the 
wave of the semitone and minor third, for plaintiveness. 
But even these do not seem to be so applied, according to 
invariable rule : for I have heard true interrogative phrases, 
intonated with a simple monotone, or ditone ; declarative 
questions with a downward fifth, or octave ; and forcible 
imperatives, with the widest ascending intervals. 

This form of Plain Recitative, would be heard by the 
common ear, as something distinct from both speech and 
song: and the above enumeration of its characteristics, must 
convince us, that not having the whole of the constituents 
of either, it must be different from both. But as we now 
have an analytic perception of the respective structures of 
them all, we can see what is common to the three, and what 
peculiar to each. We perceive too, that one cannot assume 
the character of another, without dropping itself, and be- 
coming that other : and that those definitions which set forth 
Recitative, as a musical intonation of speech, or an engrafting 
of the inflexions of speech on song, are no more than ab- 
surdities. We can further see, that as it is made up of the 
vocal constituents of both song and speech, the nature of one 
or the other may predominate according to the prevalent 
use of their respective and peculiar characteristics. And so 
it happens, that the singer often changes the form of the 
above described Plain Recitative, to that of florid execution, 
by freely introducing all the modes of song. Hence instead, 
of the plain melody, constructed of the few constituents 
above mentioned, he employs in a greater or less degree, — 
the rising and the falling concrete in all their forms ; — 
divisions of every variety ; — tremors, — shakes, — notes, and 
— waves : in short, whilst applying these constituents, under 



A BRIEF ANALYSIS OF RECITATIVE. 497 

a barred and rythmic time, he does, in effect, produce the 
full characteristic of song itself. 

In regarding then these three modes of intonation, it ap- 
pears, that Speech and Song, both by construction and 

effect, are most unlike each other : that Recitative, even 

of the plainest sort, by construction more nearly resembles 
song, and in the execution of vocalists, most readily runs 

into it : that speech has the most extended and delicate 

powers of expression ; because there is in it, the union of 
a conventional language with an instinctive intonation, and a 
perfect adaptation of one to the other : that song ex- 
clusively of words, and with its music alone, has the means 
of exciting feelings of grandeur, pathos, gaiety, and grace, by 

the force, quality, quantity, and intonation of the voice : 

and that Recitative, which, by one of the not unfrequent de- 
lusions of perception, was originally introduced, and has 
since been continued for centuries, as embracing within itself 
the characteristic expression of both speech and song, does, 
by this vain design to effect a combination of incompatible 
functions, really destroy the peculiar and delightful nature of 
each. 

We owe the modern creation, or revival of Recitative, 
in part, to the fatal influence of that vampire of classic 
authority, which, whilst fanning us into a learned and 
vain-glorious stupefaction, has for ages been drawing out 
the life blood of our intellectual independence. The igno- 
rance of both the Greeks and the Romans, upon the subject 
of the vocal functions, obliged them to describe their limited 
perceptions, by loose explanation and indefinite metaphor ; 
whilst we have been contented, in this as in other of their 
arts, to take a record of the poverty of their analytic 
knowledge, as the historic scraps of their supposed perfec- 
tion. The learned world has teased itself into despair, by 
attempts to discover, wherein consisted the inimitable 
charm of Greek poetical recitation ; and to reduce to palpa- 
ble illustration the extraordinary formal causes of that 
63 



498 CONCLUSION. 

' melodious language,' which when writers on the human 
voice shall fully understand their subject, they will admit 
to be very little more melodious than their own. * Among 
the Greeks/ says Rousseau, and he may well speak for the 

rest in this matter, 'among the Greeks, all their poetry 

was in recitative.' And again : ' The Greeks could sing in 
speaking, but among us, we must either sing or speak ; 
we cannot do both at the same time.' With such a mystical 
and distracting physiology, as here set forth, no wonder 
that worshippers of the inexplicable power and perfection of 
antiquity, should have raised up altars to this 'Unknown 

God.' Nor that Pulci the poet, in reciting his Morgante 

Maggiore, as we are told, at the table of Lorenzo de Medici, 
should have imagined himself to be the happy instrument 
of a needed revelation, of the method of Grecian dramatic- 
recitative, or of Homer's declamatory song. 



Here I conclude the cursory view of the physiological 
functions of Song and Recitative : having avoided therein, 
every thing like a practical consideration of the subject. 
Some one better qualified than myself may be disposed to 
prosecute the inquiry. In the first part of this work, the 
nature of expression in speech is set forth by an elementary 
description, and detailed illustration of its particular forms. 
An investigation of the nature of expression in Song and 
Recitative, by the light of that analysis, and according to the 
hints here thrown out, would be interesting, and might be 
successful. Nothing could give me more pleasure than to 
assist in its development. But this would lead me from 
some other designs of duty; and I have too impatient a 
perception of the wasted experience, and profitless logic, 
which daily present themselves in the changeful errors of 
my profession, — not to desire to use in its service, a method 



CONCLUSION. 499 

of philosophy which I hope will be found to have been 
effectual here. 

For reasons that are known to more than to myself, but 
which the public need not at present know, I laid aside a 
Practical work on Medicine, with the view of completing 
this : and I am now going to resume it. 



THE END. 




■'■ 



